Bowed Strings Harp Syll 3rd Imp Complete

Strings Syllabus
Bowed Strings & Harp
Trinity Guildhall Examinations

89 Albert Embankment
London SE1 7TP UK
T + 44 (0)20 7820 6100

F + 44 (0)20 7820 6161
E [email protected]
www.trinityguildhall.co.uk
Patron HRH The Duke of Kent KG

Director of Music & Performing Arts Examinations
Mark Stringer GMusRNCM(Hons) FTCL ARCO(CHM) ARCM PGCE FRSA
Chief Examiner in Music
Keith Beniston GLCM FLCM PGCE FRSA
Syllabus Manager
Benjamin Norbury MA LTCL
Copyright © Trinity College London 2006

Published by Trinity College London
Third impression, June 2007
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Grade examinations
Structure, duration & marking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Technical Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Supporting Tests:
Aural . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Improvisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
Musical Knowledge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Sight Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Requirements:
Violin (subject code VLN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Viola (subject code VLA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Cello (subject code VCL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Double Bass (subject code DB) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Harp/Non-pedal Harp/Pedal Harp (subject codes HRP/NPH/PHP) . . . . .128
Ensemble Certificate examinations

Structure, duration & marking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148
Obtaining music — publishers’ contact details . . . . . . . . . . . . . . . . .153
Trinity Guildhall publications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
2
Strings Syllabus 2007–2009
Introduction
This syllabus contains full details of Grade and Certificate examinations in Violin, Viola, Cello, Double
Bass and Harps (pedal and non-pedal). It is valid from 1 January 2007 to 31 December 2009, and
supersedes all previous syllabuses. A new syllabus will be published in August 2009 with requirements
from 2010.
Note that there will be no overlap allowed in 2007 from any previous grade practical syllabus from
either Trinity or Guildhall. This is due to the very significant changes introduced to the structure and
mark schemes. All candidates must use the new 2007 repertoire, technical work and supporting tests.
When this syllabus is replaced there will be an overlap for the first session only of 2010, during which
candidates will be able to offer pieces from the 2007–2009 lists.
Full details of entry procedures, examination regulations and marking criteria are given in a separate
leaflet Information and Regulations which is available direct from Trinity’s Head Office, Local
Representatives or from our website www.trinityguildhall.co.uk. This leaflet will be updated annually and
candidates should ensure that they consult the current version of this document for the year of entry.
Acknowledgements
The invaluable contributions made to the development of this syllabus and related support materials by
all teachers, candidates, examiners and colleagues who have had an input over the course of
consultations, field-testing and production are gratefully acknowledged. In addition to the thanks
offered to the entire panel of Trinity Guildhall examiners and their wealth of experience, special mention
must be made of Natalie Bleicher, Matthew Brailsford, Philippa Bunting, Helen Capper, Adrian Eales,
Catherine Elliott, Julia Goehr, Kirsty Hetherington, Tim Hewitt-Jones, Abi McElheron, Tony Osborne,
Danielle Perrett, Roger Pope, David Sharpe, Kay Tucker, Claire Webb, Naomi Yandell and Deborah
Young.
Benjamin Norbury — Syllabus Manager
3
Grade Examinations
Structure
Trinity Guildhall’s practical examination grades are numbered from 1 to 8 in increasing order of difficulty.
An Initial examination acts as an introduction to the examination system.
The structure of Graded Examinations from 2007 will be as follows:
Pieces
Candidates play three pieces, chosen from the published lists.
Technical Work
All candidates play a Bowing Exercise, after which they may choose to play either scales, arpeggios and
exercises or studies/orchestral excerpts.
Supporting Tests
For string examinations there are two further tests:
Up to and including Grade 5, candidates may choose any two tests from:
Aural
Sight Reading
Improvisation
Musical Knowledge
In Grades 6, 7 and 8, Test 1 must be Sight Reading. For Test 2 there is a choice between Aural and
Improvisation.
At the examination, candidates should note on the Appointment Slip which test(s) have been chosen.
Order of examination
Pieces will normally be asked before scales, with accompanied pieces first. Candidates wishing to
present their examination in any other order may do so, but must write their preferred sequence on the
back of the appointment slip and point it out to the examiner at the start of the examination. This
choice does not extend to cases where the syllabus stipulates the location of any item e.g. Own
Composition.
Duration of Examinations
Level Duration in minutes Duration in minutes
Bowed Strings Harps
Initial 11 13
Grade 1 13 15
Grade 2 13 15
Grade 3 13 15
Grade 4 18 20
Grade 5 18 20
Grade 6 23 25
Grade 7 23 25
Grade 8 28 30
4
Grade Examinations
Marking
From 2007 the maximum marks available for all Graded bowed strings & harp examinations are as
follows:
Piece 1 22
Piece 2 22
Piece 3 22
Technical Work 14
Test 1 10
Test 2 10
TOTAL 100
Pass is awarded at 60
Merit is awarded at 75
Distinction is awarded at 87
The mark out of 22 for each piece is made up of three component marks, awarded for:
• Notational Accuracy & Fluency (7 marks):

How well the notes are prepared and realised. More conveniently thought of as: ‘Me and the Music’.
• Technical Facility (7 marks):

Instrumental control and the ability to draw the most from the instrument; tone colour, articulation,
pedalling etc: ‘Me and the Instrument’.
• Communication (8 marks):
How well the candidate interprets the music, engages the audience and conveys a sense of the
meaning of the music they are playing: ‘Me and the Audience’.
For more detail please see the ‘Mark Scheme’ and ‘Assessment Criteria’ sections in the Information and
Regulations booklet, which is available from Head Office, Local Representatives or from the website
www.trinityguildhall.co.uk
5
Grade Examinations
Technical Work
The purpose of this section of the examination is to encourage the development of the necessary
technical skills for the performance of pieces. Candidates should aim for a full, unforced and rounded
tone over the whole range, with accurate playing at an appropriate and even pace. Higher marks are
given for a clear sense of direction and musical shaping with promptness and confidence in delivery.
The requirements for each grade are given in the main body of the syllabus.
All scales and arpeggios must be performed ascending and descending (unless otherwise stated) and
with the bowing requirements given.
Bowed Strings Technical Work

Format
All candidates play a Bowing Exercise, after which they may choose to play either scales, arpeggios and
exercises or studies/orchestral excerpts.
Bowing Exercises
At each Grade, a scale is played with a different rhythm or style. At Grades 5, 6 and 7 specific bowing
techniques are performed as follows:
Martelé
Immediately after the initial ‘bite’ or pressure accent the pressure must be released. The
Grade 5 bow moves quickly but does not leave the string. Each stroke should end before applying
pressure for the ‘bite’ at the start of the new stroke. This will result in an inevitable small
silence between each note.
Spiccato
The bow starts off the string and leaves the string after every note, creating a small
Grade 6
‘saucer’ or ‘smile’ shape over the string, touching the string at the lowest point of the
‘saucer’ or ‘smile’ shape.
Hooked Bowing
This describes a method of bowing a repeated dotted quaver semiquaver rhythm:
Grade 7        
        etc.
At Grade 8, candidates must prepare one of the scales set from Grade 8 with the bowings
Grade 8 from Grades 5, 6 and 7. The examiner will choose one of these bowings to hear in the
examination.
Tempi for scales and arpeggios

Scales and arpeggios with separate bows should be played at a steady pace in order to allow attention to
be focused on tone quality and accuracy of intonation. Slurred material should be played faster in order
to demonstrate fluency and agility, although speed should not compromise the quality of sound,
musicality or accuracy of the performance.
6
Grade Examinations
Playing from memory

Scales, arpeggios, bowing and technical exercises must be performed from memory. The studies and
orchestral extracts may be played either from memory or using the printed music. Candidates should
note, however, that no extra marks will be awarded for performing from memory in the examination.
Forms of the minor scale

Up to and including Grade 2, candidates may choose to play either natural or melodic or harmonic
minor scales. In Grades 3, 4 and 5 candidates have a choice of melodic or harmonic and in Grades 6, 7
and 8 both melodic and harmonic minors must be prepared.
Bowing patterns for scales and arpeggios

The various bowing patterns for scales and arpeggios in this syllabus are given on the following pages;
during the examination candidates must be prepared to play scales and arpeggios as requested by the
examiner, with the bowings specified in the syllabus. Scales, arpeggios and exercises for all stringed
instruments are published by Trinity Guildhall. See page 160 for details.
Harp Technical Work

All items are to be performed from memory, using fingerings and techniques specified in Technical
Development for Harpists.
Metronome indications are an absolute minimum. However, exercises should be performed at a

comfortable pace to reveal the optimum technique. They are not a test of the ability of the candidate to
play fast.
Where more than one dynamic is given (e.g. f or p), candidates must be prepared to play any dynamic
printed as requested by the examiner.
From Grade 3 onwards, all scales in each key should be played ascending and descending without
interruption.
Lever settings are given in Technical Development for Harpists only when they are in addition to or
contrary to the key signature.
Candidates with single-action harps should follow guidelines for non-pedal harps in Eb, but should play
all melodic minor scales with the hands together.
The short technical exercises, contained in Technical Development for Harpists, are neither
intended to be a teaching manual for harp, nor necessarily to indicate the level at which a particular
technique should be introduced. The exercises are a compendium of useful skills for a player and
should serve only as a demonstration of what should have been achieved through technical work on
a larger scale. Scales and arpeggios form a part of this important work but take their place
alongside other technical skills.
7
Grade Examinations
Examples of scale and arpeggio bowing patterns
One octave scale, slurred in pairs

       
         
  
 
or
      
          
     
or (For Grade 1 only (Grade 2 for double bass)):

       
         
     
Two octave scale, slurred in pairs

  
                      
        
    
or
   
                    
           
   
Scale slurred four notes to a bow
        
           
        
    

            
or
 
         
        
Scale slurred seven notes to a bow
            
            
   etc. or    etc.
8
Grade Examinations
Scale slurred three notes to a bow

  
 
       
   etc.
Arpeggio slurred in pairs
      

      
    or    
Arpeggio of a 7th slurred in pairs

    
      
 
Arpeggio slurred three notes to a bow (1 octave, 2 octaves)


           
  

  
   or    
Arpeggio to a 12th slurred three notes to a bow
    
   
  
 
 
The examples above are given as indications of bowing patterns for all instruments from the
syllabus. Clefs, key and time signatures have been deliberately omitted in order not to imply an
association with any one scale or member of the string family, or any particular interpretation or
emphasis within each scale.
Complete music for all Technical Work is contained in the four books of Scales, Arpeggios & Studies
from 2007 published by Trinity Guildhall. See page 160 for details of how to obtain Trinity Guildhall
publications.
9
Grade Examinations
Pieces
Repeats, ornaments & tempi
All da capo and dal segno instructions should be observed. Repeats of more than a few bars should be
omitted unless otherwise instructed in the syllabus, or where a substantial first-time bar section would
be lost. Candidates should omit cadenzas in concerto movements played in grade examinations unless
instructed otherwise in the syllabus, but cadential trills and other ornamentation appropriate to the style
of the music are encouraged at all levels, and particularly in the higher grades. Metronome marks are
given merely as a guide to performance, and candidates should observe terms showing the tempo
and/or character of the music (e.g. Lento, Allegro) in their performance. Long introductions, tuttis and
endings should be sensibly truncated.
Accompanists and page-turners

Trinity Guildhall does not provide accompanists nor can the examiner act as an accompanist or page-
turner. Difficult page-turns should be overcome by photocopying the relevant pages. A page-turner may
assist the accompanist in Grades 6–8 examinations if absolutely necessary, but may remain in the
examination room only whilst (s)he is needed. Candidates may use a recording of the piano
accompaniment in examinations up to and including Grade 3. Recordings of accompaniments need not
be commercial products but must be of good CD quality and must not include the solo part; cassette
recordings are not acceptable. All examinations from Grade 4 upwards must use a live accompaniment.
Playing from memory

Candidates are free to play any or all of their pieces from memory, and to do so is likely to help with the
security of their knowledge and their ability to communicate. It is not obligatory, however, and no
separate marks are given for memorisation. Candidates who play from memory must ensure that an
original copy of the music performed is brought to the examination for the examiner’s reference.
Music and copies

It is strongly recommended that original copies of music needed for examinations are obtained before
an examination entry is made; allowances cannot be made for delays in obtaining music. Candidates may
use any reputable edition of the works listed in the syllabuses; publishers’ details are given mainly for
the purpose of identifying works and also as suggestions of suitable editions. Candidates should always
try to obtain reliable and authoritative editions of all music, but should note that variations in
worldwide availability may occasionally be encountered; candidates are advised always to check the
contents of books before purchase. Publishers’ contact details are given at the end of this syllabus.
Candidates must perform from published material in the examination room; photocopies of complete
pieces may not be used in examinations. If candidates or accompanists perform from photocopies
unauthorised by the publisher (other than short extracts to facilitate page-turning), no marks will be
awarded for that item.
Examiners of grade examinations welcome the provision of reference copies of pieces not published by
Trinity Guildhall. Photocopies can legitimately be used for this purpose; any copies provided will be
retained by the examiner and destroyed after the examination.
10
Grade Examinations
Own Composition
Candidates may offer their own composition in place of a listed piece where indicated in the
syllabus. This must be performed as the last of their group of pieces so that the questions on the
piece may follow immediately afterwards.
Content
The composition should follow the specification given, and must be of a similar technical and
artistic level to the other pieces performed. A piano accompaniment may be included, but the use
of pre-recorded material or other instruments is not allowed. The piece should be substantially the
candidate’s unaided work, although the teacher may offer guidance as necessary. Candidates and
teachers are advised to take note of the Levels of Achievement statements in the current
Information and Regulations booklet when preparing own compositions. The timings given at each
level should be observed carefully; credit will be lost if compositions fall appreciably short of or
exceed the indicated timespan.
Notation
The complete composition must be written out in the candidate’s own hand (or be produced and
printed by the candidate using a score-writing program). At Grades 1–5, the composition may be
presented in any coherent form of notation. For compositions at Grades 6–8 staff notation is
essential. Marks will be deducted if the notation is incomplete or technically inaccurate or if the
performance varies significantly from what is written. Candidates must present a (photo)copy of the
piece, which the examiner will keep, with name and candidate number clearly shown.
Assessment
After the performance, the examiner will ask the candidate to explain how the piece was composed
and will ask further questions about the notation and structure. Sixteen marks are awarded for the
performance and six for clarity of explanation, structure and presentation.
The specific requirements are listed below.
Composition requirements—grade by grade:
Grade Duration Requirements
Initial 1–2 minutes A piece containing sudden change(s)

1 1 1/2—2 1/2 minutes A piece containing sudden dynamic contrast
2 1 1/2—2 1/2 minutes A piece contrasting legato and staccato passages
3 1 1/2—2 1/2 minutes A piece which starts quietly and simply, and builds
to a loud, grand climax
4 2 1/2—3 1/2 minutes A piece with long melodic phrases
5 2 1/2—3 1/2 minutes A piece containing many wide leaps
6 3 1/2—4 1/2 minutes A piece contrasting material in the high and low
registers
7 3 1/2—4 1/2 minutes A piece featuring several different tuplets (within the
same pulse) e.g. duplets, triplets etc.
8 4 1/2—5 1/2 minutes A piece featuring a variety of instrumental effects
e.g glissandi, sul ponticello, col legno etc. 11
Grade Examinations
Supporting Tests
Aural
Four tests are given for each grade (two for Grade 8), designed to develop the candidate’s abilities in the
fields of musical perception, discrimination, memory, understanding, analysis and response. The tests,
which are all based on the same example to encourage a deepening of knowledge, are carefully graded
from basic skills to more advanced understanding.
NB Tests for Initial and Grade 1 are all in major keys; Grades 2—5 and 8 may be in major or minor.
Grade 6 tests are major and Grade 7 are minor. Tests involving printed copies given to candidates will
be provided in treble clef for most instruments, and in bass or alto (viola) clef for instruments
normally reading those clefs.
Initial
1. To sing, hum or whistle the final note of a 4-bar melody in 2 time, played with the final
note omitted. The note should be sung in strict time. The key chord will be sounded before
the melody is played. In all circumstances this note will be the tonic.
2. To clap back the rhythm of the melody after hearing it played twice again.
3. To identify, after another hearing, whether the melody was played mainly legato or staccato.
4. To identify, after hearing again three consecutive notes from the melody, which of the three
was the highest or lowest.
Grade 1
1. i) To clap back the rhythm of a four bar melody in 2, or 3 time, played twice;
ii) to state the time signature.
2. To state, after hearing the melody again, whether the last note was higher, lower or the same as the
first note.
3. To state, after hearing the melody again, whether the melody was played mainly legato or staccato.
4. To listen to the melody played twice more, first as originally heard and then with a change to the
pitch at one point, and indicate where the change occurs. Candidates will not be required to describe
the change.
Grade 2
1. To listen once to a short melody in 2, or 3 and to indicate a sense of the pulse and time signature
during a second playing. Candidates should respond by either conducting clearly, using a simple,
conventional, beat-shape or alternatively by other methods, provided the strong beats are indicated
distinctly. The examiner will bring the candidate in at the start of the second playing.
2. To state, after hearing the melody again, whether the last note was higher, lower or the same as
the first note.
3. To listen to the complete melody again and to state,
i) whether it was in a major or minor key;
ii) the dynamic level at the start and how it changed during the piece. Crescendo and
diminuendo may be included.
12
Grade Examinations
4. To listen to one half of the melody played twice more, first as originally heard and then with a
change in the rhythm or melody, and to identify the type of change made.
Grade 3
1. To listen once to a short melody in 3, or 4 and to indicate a sense of the pulse and time signature
during a second playing. Candidates should respond by either conducting clearly, using a simple,
conventional, beat-shape or alternatively by other methods, provided the strong beats are indicated
distinctly. The candidate may begin right at the start, or can join in once the melody is under way.
2. To identify the interval formed by the first two notes of the melody, played from low to high and held
as a sounding interval as a major second, minor third, major third, perfect fourth or perfect fifth.
(All diatonic, from within the key.) Candidates may sing (or hum) the notes before answering.
3. To identify a triad played by the examiner as being either major or minor. The notes will be
sounded together.
4. A printed copy of the melody will be handed to the candidate. The examiner will then play the
original followed by a version (played twice) containing one change of pitch or rhythm. The
candidate will be invited to indicate the bar in which the change occurred in the rhythm or melody.
Grade 4
1. To listen once to a short melody in 4, or 6 with a simple accompaniment and to indicate a sense
of the pulse and time signature during a second playing. Candidates should respond by either
conducting clearly, using a simple, conventional, beat-shape or alternatively by other methods,
provided the strong beats are indicated distinctly.
2. To identify the interval formed by the first two notes of the melody, played consecutively,
as:
a unison a perfect fourth
a minor second a perfect fifth
a major second a minor sixth
a minor third a major sixth
a major third
Candidates may sing or hum the notes before answering.
3. To listen to the piece again and to identify the cadence at the end as being either perfect
or imperfect.
4. A printed copy of the melody line only will be handed to the candidate. The examiner will then play
this, followed by a version (played twice) containing two changes, one of pitch and one of rhythm.
The candidate will be invited to indicate the bars in which the changes occurred and to describe
them.
Grade 5
1. To listen twice to a short piece of music in 2, 3 or 6 played twice, and state:
i) the time signature;
ii) if it began in the major or minor;
iii) if the tonality changed as the piece progressed, and if so, how.
After a further playing of the closing section of the piece, whether the cadence at the end was
perfect, imperfect or interrupted.
13
Grade Examinations
2. To identify the interval formed by 2 notes selected by the examiner from the melody line, played
consecutively, as:
a unison a perfect fifth
a minor second a minor sixth
a major second a major sixth
a minor third a minor seventh
a major third a major seventh
a perfect fourth an octave
Candidates may sing or hum the notes before answering.
3. To listen to the piece again and to comment on the articulation and the dynamics.
4. A printed copy of the complete piece will be handed to the candidate. The piece will be played
once more as originally heard and then twice with two changes to the ‘top’ line; one to the
rhythm and one to the melody. The candidate will be asked to locate and describe the changes.
Grade 6
1. To listen to a short piece in a major key in 2, 3, 4 or 6 played twice, and state the time
signature. Candidates will be invited to comment on the main features of the piece such as
phrasing, style and dynamics. The candidate will have the opportunity to give comments after
the first and/or second playing at their discretion.
2. To listen to the closing bars of the piece and identify its cadence as perfect, imperfect, plagal
or interrupted.
3. To listen again to a part of the piece which modulates and state into which key the music has
modulated. Keys used will be confined to dominant, subdominant and relative minor. The opening
key will be stated and the tonic chord played before the start. Answers may be given as either key
or technical names (e.g. in C major: ‘to G’ or ‘to the dominant’).
4. A printed copy of the piece will be handed to the candidate, who will be invited to compare this with
a version played twice by the examiner containing two changes. These will be in the melody line
only and may be to the rhythm, the pitch or the articulation. The candidate should identify the
location and nature of the changes.
Grade 7
1. To listen twice to a short piece in a minor key and comment on the main features of the piece such
as style, phrasing, articulation and dynamics. The candidate will have the opportunity to give
comments after the first and/or second playing at their discretion.
2. To listen to a phrase from the piece and identify its cadence as perfect, imperfect, plagal
or interrupted.
3. A printed copy of the first section of the piece will be handed to the candidate, who will be invited
to compare this with a version played twice by the examiner containing three changes. These may
be in the pitch (of the melody line only) or the rhythm. The candidate should identify and explain
the changes.
4. To listen to the piece played with a modified ending and identify the key to which the music has
modulated. The opening key will be stated and the key-chord played. Keys used will be limited to the
sub-dominant minor, the relative major and the dominant of the relative major (e.g. G major in A
minor). Answers may be given as key names or technical names. Part of the piece may be omitted
by the examiner for clarity if appropriate.
14
Grade Examinations
Grade 8
1. A short piece will be played twice. The candidate will be invited to describe the significant features
of the piece, such as style, rhythm, texture, dynamics, phrasing and articulation. Candidates are
encouraged to make observations after the first playing and to supplement these after the second.
This section will take the form of a short discussion with the examiner; credit will be given for the
depth of perception in the candidate’s comments.
2. A printed copy of the entire piece will be handed to the candidate and played by the examiner, who
will then play twice a version containing three changes which may be in the rhythm, melody,
harmony, articulation, dynamics or tempo. The candidate will be invited to identify and explain the
changes. Changes may occur in the treble or bass clef lines, or both. The original version, as
supplied to the candidate, will be played again, before the version with the changes.
NB In all sections of the Aural Tests that involve the examiner handing the candidate a printed copy
of the test, candidates and teachers should note that the copy will be a laminated page, which
may not be marked by the candidate in any way whatsoever during the examination.
Improvisation
The improvisation tests explore the candidate’s ability to respond creatively to an aural/visual stimulus
offered by the examiner, usually as a rhythmic or melodic cell. The tasks undertaken develop from simple
recognition, assimilation and invention to modulation, extension and other techniques.
In every case the stimulus has been designed to allow a genuinely free creative improvisation and to
avoid the implication of a ‘mirror image’ response. At all grades the stimuli seek to provide a wide range
of improvisatory possibilities, whilst avoiding excessive complication within themselves. The greatest
credit will be given for candidates who most effectively incorporate elements of the stimulus into their
improvisation, showing creativity, good instrumental knowledge and ability.
Outline and Test Parameters

According to the candidate’s choice, the examiner will tap the rhythm or play the pitches or chords on
the piano, and will also give a notated copy of the relevant test to the candidate which the candidate can
refer to throughout the test. In this way both auditory and visual learners will be assisted to produce
their best possible response.
Format
Candidates may select any one of the following three types of test:
either melodic: based on a series of pitches
or rhythmic: based on a rhythmic idea
or chordal: based on a set of chord symbols.
The parameters are given in the chart overleaf.
Melodic Tests
The examiner will give the candidate a copy of a series of written pitches and will play it through twice
with each pitch lasting for about 2 seconds. The candidate will play the pitches back to the examiner, and
then has 30 seconds to prepare a short phrase incorporating these pitches, which is then performed.
The candidate may play during the preparation time.
15
Grade Examinations
Rhythmic Tests
The examiner will give the candidate a written version of an opening rhythm and then play it twice.
Candidates will then repeat it on their instrument using one pitch. They then have 30 seconds to develop
a piece of music based on this rhythm and then adding melodic material as appropriate. Instrumental
range used should reflect the parameters for melodic tests in the chart.
Chordal Tests
The examiner will give the candidate a copy of a 2-stave piano score containing chords written out
without a time signature (with bar lines) and chord symbols printed above each chord. The examiner will
play this through twice, establishing a moderate pulse with each chord played as 4 crotchets per bar (or
2 crotchets where more than one chord appears in a bar). The candidate then has 30 seconds (60
seconds for Grades 6 to 8) in which to prepare a short improvisation over the given chords. Candidates
can choose to use the tempo and time signature that the examiner played, or to request a quicker or
slower tempo and a 3, 4 or compound ‘feel’ if they prefer.
The examiner will then play the chords as before, while the candidate improvises above them. The
phrase may be repeated several times, depending on length and speed, until the improvisation reaches a
natural conclusion. Alternatively, harpists may choose to perform the improvisation as a solo, which
must incorporate the chord pattern.
Written Keys for Chordal Tests
Grades 1, 2 & 3 Grades 4 & 5 Grades 6, 7 & 8
B, F#, C#, E & A minor D, A, E, G, C, F, & Bb major

Violin D, A & E major
plus relative minors
E, B, F#, A & D minor G, D, A, C, F, E & Bb major

Viola G, D & A major
A, E, B, F# & D minor C, G, D, A & F, Bb & Eb

Cello C, G & D major
major plus relative minors
A, E, B, D & F# minor C, G, D, F, A, E & Bb major

Double Bass C, G & D major
A, D, E, G & B minor C, F, G, Bb, D, Eb & A major

Harp C, F & G major
Notes
Marks are awarded for planning, structure, form, melodic, harmonic & rhythmic creativity, inventiveness
and logical progression, appropriate length and use of instrumental resources.
Candidates should regard the note values and ranges given as the minimum that will be expected, but
may extend these if they wish.
Harpists taking the melodic test may play chords if they wish, and will receive credit for their appropriate
use, but they are not obligatory, and the test is essentially of melodic invention.
The length of the response in the chart overleaf is given as a guide only, and the candidate should aim to
perform a musically satisfying and balanced response.
16
Grade Examinations
Parameters for Improvisation Tests
Rhythm tests:
Melody tests: Melody tests:
Suggested Chord tests
Grade Max. range
e of Sugge
ggested length ythm tests
Rhythm
length of Phrase played round twice
given motif of response
se
response
In 4
4 4 bar phrase
2 bars Major key
Initial 3 stepwise notes crotchets I/V
minims 2 bars per chord
2–4 bars
approx 2 bars
In 4
4 4 bar phrase
3 notes – one
2 bars Major key
1 step one leap –
crotchets I/V
up to 4th
minims, quavers 1 chord per bar
4 bar phrase
4 notes – range As above with Major key
2
up to 5th dots I/IV/V
1 chord per bar
approx 4 bars approx 4 bars
4 bar phrase
5 notes –
As above with Major key
3 range up to
ties I/IV/V/ii
6th
1 chord per bar
4 bar phrase
Octave
Minor key
4 (diatonic)
I/IV/V
1 chord per bar
Two phrases In 23 or 4 Two phrases
4 4 4
approx 4–8 bars approx 4–8 bars
each plus semiquavers each 4 bar phrase
Octave (simple Minor key
5
chromaticism) I/IV/V/vi
1 chord per bar
8 bar phrase
Plus 6 Major key
6 8
I/ii/IV/V and 7ths
1 chord per bar
3-4 phrases
3–4 phrases
8-12 bars
8–12 bar phrase

Twelfth Major or Minor key
7 Plus triplets
(chromatic) I/ii/III/iv/V/VI and 6ths/7ths
1 or 2 chords per bar
12–16 bar phrase

Major or Minor key
Plus 7 4–6 phrases
8 4–6 phrases 8 All chords 6ths/7ths/9ths &
12–16 bars
dim/aug
Simple suspensions
1 or 2 chords per bar
17
Grade Examinations
Musical Knowledge (Initial to Grade 5 only)

These questions test the candidate’s understanding of their chosen pieces, the context of their
performance and their knowledge of their instrument and its technical demands, including best practice
for rehearsal and performance.
Five questions, each worth 2 marks, will normally be asked. Questions will include discussions on most of
the areas mentioned below, but not all parameters will be relevant to all disciplines and pieces, and
examiners will select questions as appropriate. Candidates must ensure that copies are not so heavily
annotated that a reasonable range of questions for the grade is precluded.
For melody line instrumentalists, questions will be based only on the instrumental line, and not on the
accompaniment.
Initial
1. The pitch names, and durations of any notes (excluding those with leger lines except middle C) in the
pieces played.
2. To identify, but not to explain clefs, stave, bar lines and key/time signatures in the pieces played.
3. Very simple musical terms and signs in the pieces, such as  , ‘repeat’, f and p.
4. Questions about the connection between the titles of the pieces and the music played (e.g. what is a
Minuet? Why is this piece called ‘Squabble’?)
Grade 1
1. Pitch names, note types (e.g. minim) and durations of any notes in the pieces played, including dotted
notes and any leger lines.
2. Clefs, time/key signatures and any common musical term/sign encountered.
3. Identify and explain p/f, accidentals, phrase marks, 1st & 2nd time bars and staccato/legato, when
appearing in the pieces played.
4. Comment on any significant, interesting or unusual features of piece(s) played. Show a basic
understanding of the instrument, including the names of its main parts (e.g. fingerboard, bridge,
tuning pegs etc.) and maintenance.
Grade 2
As for Grade 1, and additionally:
1. Show an understanding of any term, sign or mark of expression in the pieces played.
2. Identify and explain any metronome marks, grace notes, ornaments etc. appearing in the pieces
played.
3. The numerical value (only) of any interval (within an octave) between any two successive notes
appearing in the pieces played. (e.g. ‘a second’ not ‘a minor second’). Intervals may be asked from a
lower to a higher note or vice versa.
4. Be aware of appropriate basic posture when playing.
18
Grade Examinations
Grade 3
As for previous grades, and additionally:
1. Identify and demonstrate an understanding of the keys, (together with their relative major/minor), in
which the pieces played are written.
2. Identify any common musical devices such as scale or arpeggio patterns in the pieces played.
3. Show an understanding of the reasons for, and methods employed in, the instrumental or vocal warm
up (of both instrument and performer).
4. The difference between the written and the sounding pitch of their instrument (transposing
instruments only, including octave transposing instruments).
Grade 4
1. Identify/explain any main key encountered throughout the pieces played, though no detailed
knowledge of modulatory processes will be expected.
2. Name the tonic and the dominant (and the 3 notes of their triads) of any of the keys in which the
pieces are written.
3. The full name of any interval (within an octave) between any two successive notes appearing in the
pieces played. (e.g. ‘major second’ not ‘second’). Intervals may be asked from a lower to a higher note
or vice versa.
4. Comment on any particular technical or musical challenges encountered in the preparation of the
pieces played.
Grade 5
1. Comment on any significant features of the musical style and period, (e.g. Baroque, Romantic) of the
pieces played.
2. Point out any interesting or noteworthy structural/formal aspects of the pieces played.
3. Show an understanding of the keys used in the pieces played, including an understanding of
modulations and a knowledge of tonic, dominant and subdominant of the keys in which the pieces are
written.
Grades 6–8
Musical Knowledge questions are not available at these grades.
19
Grade Examinations
Sight Reading
Sight Reading tests are set at the level of a piece prescribed approximately two grades lower than the
grade undertaken; for instance, Grade 5 candidates should be able to read at sight the level of piece set
for Grade 3 performance. Tests will follow the parameters given below. Note that the parameters are
cumulative; the keys etc. used at each grade may also include any variable set for any previous grade.
Candidates will be allowed 30 seconds to study the test before they attempt it. During this time they may
practise any or all of the piece aloud. The examiner will only take account of the actual performance of
the test.
Violin Viola Cello Double Bass Harp
Initial open strings only C major
Grade 1 G, D major F major
G, D, A major C, G, D major C, G, D major

C, A major
Grade 2 as above
C major F major F, Bb major F, Bb major Bb* major

Grade 3
D, A minor D, A minor A, D, G minor A, G minor A, D** minor
F, Bb major Bb, Eb major A major

D, B minor D, A major
Grade 4 E, G minor E, G minor E, B minor
plus accidentals E*, D* minor
plus accidentals plus accidentals plus accidentals
Eb major A major Eb major E major Bb***, A** major

Grade 5
C, B minor B, C minor F# minor E minor G* minor
E, Ab major E, Ab major E, Ab major Eb major

Grade 6 E** major
F, F# minor F, F# minor C minor C minor
B, Db major B, Db major B, Db major Ab major A major

Grade 7
C# minor C# minor C#, F minor F, F# minor F minor
all keys
all major and all major and all major and B major appropriate to
Grade 8 C# minor
minor keys minor keys minor keys tuning of the
harp
* Pedal harp
**Non-pedal harp in F
20
***Non-pedal harp in E/Ab
Grade Examinations
21
Articulation, position, shifts
Tempi and
Time signatures Note values
dynamics
Violin and Viola Cello Bass Harp
hands separately;
Initial 2, 4 # and moderato, mf separate bows; open strings only; no jumps across strings
range of a 5th
Grade 1 as above as above plus f and p separate bows; within first position; range of a 5th range of a 9th
plus MK 'K ?
Grade 2 plus 3 plus allegretto plus 2-note slurs but not across strings (downbow and upbow) hands together
and ties
plus three-note slurs plus three-note slurs
Sight Reading Parameters for Bowed Strings and Harp
plus two-note slurs; ½

or two notes across or two notes across
Grade 3 plus K 4 , and ? plus mp,andante strings; mixed finger and 1st positions; no
strings; mixed finger patterns; backwards
plus simple pedal
changes*
extensions
patterns extensions
as above
plus slurs up to four plus three-note slurs;
plus slurs up to four
#M , and =
plus cresc. and notes; accents and 3rd position; accents
Grade 4 plus notes; accents and more pedal changes*
decresc. staccato; pizzicato; and staccato; pizzicato;
staccato; pizzicato
foward extentions. simple shifts
plus more mixed
plus more mixed bowing styles; trills;
plus more mixed
bowing styles; trills;
Grade 5 plus 6 plus ( (groups of 2 plus rall.; a tempo bowing styles; trills;
octave harmonics
octave harmonics;
octave harmonics;
½ string harmonic;
plus two-note chords
and 4)
simple shifts 4th position
plus shifts; spiccato; plus more complex plus double stops
plus dotted
double stops shifts; double stops including an open plus three-note
Grade 6 plus 8 quaver/dotted quaver
semiquaver
plus accel.
including an open including an open string; 5th and 6th chords; arpeggiando
string string positions
plus more awkward plus double stops
including an open
** Pedal Harp only

* Not for Harp in F
shifts, including plus simple thumb
Grade 7 plus 9 plus triplets use of mute
those requiring string; simple thumb position
plus lever changes**
2nd position position implied by G
plus près de la table;
plus double stops
including 2 stopped plus double stops in
pedal changes note
Grade 8
plus and changing plus duplets as above
notes (but not in 1st position; tenor clef
plus tenor clef indicated*; lever
time signatures changes not
sequences)
indicated**
Grade Examinations
Instruments
Tuning
Examiners should not be expected to tune or adjust instruments for candidates. Up to and including
grade 5 the teacher or accompanist may assist with tuning. From Grade 6 onwards, candidates are
expected to tune or adjust their instrument without assistance.
Bowed Strings
Doubling
Candidates taking Grade 6, 7 or 8 examinations in Violin or Viola may choose to play one piece on the
other instrument, chosen from the corresponding syllabus and Grade. At least one piece from each
group must be played. Candidates who choose to present more than one instrument may opt to arrange
the order of their programme to accommodate the move from one instrument to the other. All technical
work and supporting tests must be taken on the instrument on which the entry was made.
Harp
Non-pedal harp requirements are based on a 34-string instrument tuned in Eb, Ab or F. Up to Grade
4 inclusive, candidates wishing to use a harp with fewer strings must seek authorisation from the
Chief Examiner in Music at least 30 days before the local closing date for entries, enclosing a full
specification of their instrument. From Grade 5 upwards, non-pedal harps used in the examinations
must have at least 34 strings.
Non-pedal harp candidates should indicate on their appointment slip for the examiner whether their
harp is tuned in Eb, Ab or F.
Samples of harmonisation tests for Grades 6–8 are published in a leaflet entitled Sample Tests of
Keyboard Musicianship, available free of charge from Local Representatives or from the website
www.trinityguildhall.co.uk.
22
Violin — Initial Subject code: VLN
Pieces (3 x 22 marks)
Three pieces are to be played, at least one from each Group. Instead of one item, candidates may offer
their own composition (see page 11). One piece may be unaccompanied.
Group A Piece Book Publisher

Blackwell Ready, Steady, Go Now!, no. 28 Fiddle Time Joggers OUP
Blackwell The Old Castle, no. 39 Fiddle Time Joggers OUP
Colledge Waterfall, no. 9 Waggon Wheels for Violin Boosey
Fletcher Hoedown Violin Initial — 2004–2009 Trinity
Huws Jones Tortoise Tango The Really Easy Violin Book Faber
Lumsden
& Attwood Cool Witches’ Hat! Witches’ Brew Peters EP 7676
Lumsden
& Attwood Murgatroyd’s Tom-Cat Witches’ Brew Peters EP 7676
Lumsden
& Wedgwood Crocodillo Snoring Jackaroo Faber
Nelson Choo Chug-a-Chug Violin Initial — 2004–2009 Trinity
Nelson Marzipan March [Variation only] The Essential String Method for Violin book 2 Boosey
Nelson Lullaby Right from the Start Boosey
Nelson Ice Dance The Essential String Method for Violin book 2 Boosey
Nelson Hocus Pocus [Theme and Var. 1] The Essential String Method for Violin book 2 Boosey
Norton Grizzly Bear Violin Initial — 2004–2009 Trinity
Trad. Twinkle Duet [top part] The Essential String Method for Violin book 2 Boosey
Trad. Big Clocks*
or French Folk Tune* Violin Initial — 2004–2009 Trinity
Trad. Miss Mary Mac, no. 25 Abracadabra Violin book 1 A & C Black
Cohen
& Spearing Brother Jack… Superstart Level 1 Faber
Group B
Blackwell Calypso Time, no. 42 Fiddle Time Joggers OUP
Blackwell Patrick’s Reel, no. 41 Fiddle Time Joggers OUP
Blackwell Low D, High D, A in Between* Violin Initial — 2004–2009 Trinity
Cohen Thinking Things Over Violin All Sorts Initial–Grade 1 Trinity Faber
Colledge Knickerbocker Glory, no. 10 Waggon Wheels for Violin Boosey
Colledge Bell-Ringers, no. 14 Waggon Wheels for Violin Boosey
Huws Jones Back-Scratcher Ten O’Clock Rock Boosey
Huws Jones Ink-Spot Ten O’Clock Rock Boosey
Huws Jones Red Parrot, Green Parrot Violin Initial — 2004–2009 Trinity
Nelson Swingalong Violin Initial — 2004–2009 Trinity
Nelson Let’s Have a Holiday The Essential String Method for Violin bk 2 Boosey
Rose Reverie Violin Initial — 2004–2009 Trinity
Trad. Moravian Carol The Essential String Method for Violin bk 2 Boosey
Trad. Chan mali chan Violin All Sorts Initial–Grade 1 Trinity Faber
Trad. Little Bird, no. 29 Abracadabra Violin book 1 A & C Black
Wohlfart Polka Piece by Piece book 1 Boosey
* Denotes unaccompanied repertoire
23
Violin — Initial
Technical Work (14 marks) (see pages 6–9)

As given in Violin Scales, Arpeggios & Studies from 2007 published by Trinity Guildhall.
Scales (from memory)

The following scales to be performed from memory, with the indicated rhythmic patterns on each note,
as requested by the examiner:
G major (one octave)
D major (one octave)
A major (one octave)
All starting on the open string.
G major

  etc.
                 
D major

                  etc.
A major
   
               etc.
Supporting Tests (2 x 10 marks)

Two tests are to be chosen from:
Aural (see page 12)

Improvisation (see page 15)
Musical Knowledge (see page 18)
Sight Reading (see page 20)
24
Violin — Grade 1 Subject code: VLN

Blackwell Caribbean Sunshine, no. 33 Fiddle Time Runners OUP
Colledge On the Wing, no. 25 Waggon Wheels for Violin Boosey
Hedges Ups and Downs Violin Grade 1 — 2004–2009 Trinity
Hopkins We Three Kings of Orient Are The Fiddler Playalong Collection 1 Boosey
Huws Jones Purry Slury Ten O’Clock Rock Boosey
Kelley Baa Baa Black Sheep Violin Grade 1 — 2004–2009 Trinity
Lumsden
& Attwood Dizzy Lizzy Lightweight
or Wizards United Wizard's Potion Peters EP 7678
Nelson The Busybody The Essential String Method for Violin bk 3 Boosey
Nelson Reeling Around The Essential String Method for Violin bk 3 Boosey
Rae Chill! Violin All Sorts Initial–Grade 1 Trinity Faber
Robinson Fast Forward Upbeat! For Violin book 1 Subject
Rodgers Edelweiss, no. 50 Abracadabra Violin book 1 A & C Black
Rose Pony Ride Violin Grade 1 — 2004–2009 Trinity
Schumann Humming Song Violin Grade 1 — 2004–2009 Trinity
Susato Basse Danse: La mourisque Violin All Sorts Initial–Grade 1 Trinity Faber
Telemann Minuet The Essential String Method for Violin bk 3 Boosey
Trad. Pease Pudding Hot
[Theme & all variations] The Essential String Method for Violin bk 3 Boosey
Trad. I have a Bonnet The Essential String Method for Violin bk 3 Boosey
Wedgwood Riding out West Really Easy Jazzin' About for Violin Faber
Group B
Anon The New Bridge of Edinburgh
or The South Bridge
of Edinburgh Thistle & Minuet Schott ED 12773
J S Bach Minuet 1 Suzuki Violin School book 1 Maecenas Music
Blackwell Flamenco Dance, no. 26 Fiddle Time Runners OUP
Charpentier Prelude from Te Deum, no. 24 Fiddle Time Runners OUP
Cohen Kalinka, p. 46 Superstart Violin (new edition) Faber
Colledge Hallowe’en Fast Forward for Violin Boosey
Colledge Sweet Dreams* Fast Forward for Violin Boosey
Elgar Andante, no. 1 Six very Easy Pieces Bosworth
Handel March The Essential String Method for Violin bk 3 Boosey
Helyer Morning Song A Midsummer’s Day Stainer 1973
Huws Jones Toodle-Pip Ten O’Clock Rock Boosey
Huws Jones Troika The Really Easy Violin Book Faber
Kirkland-
Wilson Fragrant Harbour Violin Grade 1 — 2004–2009 Trinity
25
Violin — Grade 1
Lumsden
& Wedgwood Triceratops Rocks Jurassic Blue Faber
Mackay Waltz Violin Grade 1 — 2004–2009 Trinity
Mozart Two Minuets The Essential String Method for Violin bk 3 Boosey
Norton Snooker Table The Microjazz Violin Collection 1 Boosey
Offenbach Can-Can* Violin Grade 1 — 2004–2009 Trinity
Trad. Over the Hills and Far Away*
or Sad the Forest* Violin Grade 1 — 2004–2009 Trinity
Wedgwood Tangerine or Crystal Spring Really Easy Jazzin’ About for Violin Faber

Candidate to prepare the Bowing Exercise and then either Section i) or Section ii) in full.
Bowing Exercise (from memory):

The candidate will be asked to play from memory one scale of their own choice from any of those listed
below for Grade 1. The scale should be played with two separate crotchets on each degree of the scale,
one down bow and one up bow. [ q = 66]
either i) Scales, Arpeggios & Technical Exercises (all to be played from memory)
Candidate should prepare scales and arpeggios from one of the two groups listed below:
When the examiner requests a key the candidate should play the scale and then, immediately (or after a
moment’s pause), the arpeggio.
Group 1:
C major (one octave, starting on the 3rd finger)
G major (one octave, starting on the 3rd finger)
D major (one octave, starting on the open string)
A major (one octave, starting on the open string)
D minor (to the 5th, starting on the open string, scale only)
or Group 2:
G major (one octave, starting on the open string)
A major (one octave, starting from the 1st finger in 1st position)
E major (one octave, starting from the 1st finger in 1st position)
E minor (to the 5th, starting on the D string, scale only)
Scales to be prepared with separate bows and slurred in pairs. (Upper tonic may be repeated)
Arpeggios to be prepared with separate bows only.
See pages 8–9 for examples of rhythmic and bowing patterns for scales.
26
Violin — Grade 1
Technical Exercise (from memory):

Double Stops [open strings]:
     
    
  
or ii) Studies
Candidate to prepare the following three studies and to choose one of them to play first. The examiner
will then select one of the remaining studies to be performed:
1. Floating Leaf in a Stream
2. Continental Song
3. Marching On!
All studies are contained in the book Violin Scales, Exercises & Studies from 2007 published by Trinity
Guildhall.

Aural (see page 12)

27

Blackwell Wild West, no. 28 Fiddle Time Sprinters OUP
Cullen On Roller Blades no. 7 13 Ways of Getting There Schott ED 12849
Cullen Rock Jumping, no. 8 13 Ways of Getting There Schott ED 12849
Foster Camptown Races The Essential String Method, Violin bk 4 Boosey
Glass The Duck and the Kangaroo* Violin Grade 2 — 2004–2009 Trinity
Gossec Gavotte, no. 17 Suzuki Violin School book 1 Maecenas Music
Haydn Minuet Violin All Sorts Grades 2–3 Trinity Faber
Henderson Five Foot Two, Eyes of Blue Violin Grade 2 — 2004–2009 Trinity
Lumsden
& Attwood Grab the Slippery Toad! Wizard’s Potion Peters EP 7678
Miles Arriving Home Creative Variations vol. 1 Camden CM235
Nelson London Bridge Variations The Essential String Method, Violin bk 4 Boosey
Nelson Reel [top part only] Technitunes Boosey
Paganini Theme from Witches Dance Suzuki Violin School book 2 Maecenas Music
Tchaikovsky Old French Song, p. 26 The Essential String Method, Violin bk 4 Boosey
Telemann Allegro in A, no. 20 Fiddle Time Sprinters OUP
Trad. Bagpipe Air Violin Grade 2 — 2004–2009 Trinity
Trad. Down among the Dead Men* Violin Grade 2 — 2004–2009 Trinity
Trad. Spanish Bolero, no. 10 [top part] Fiddle Time Sprinters OUP
Trad. Cape Cod Shanty O Shenandoah! Faber
Group B
Carse Berceuse Violin Grade 2 — 2004–2009 Trinity
Huws Jones Got Those Third Position Blues? Got Those Position Blues? Faber
Korn Waltz or Rock ‘n’ Roll Dancing Violin Doblinger DE33002
Küchler Concertino in G op. 11,
2nd movt: Andante Bosworth
Lindsay Nocturne, no. 1 1st Recital Series for Violin Curnow 0841.03 CMP
Lumsden
& Attwood Search for the Magical, Mystery
Maze or Strike it Lucky! Wizard’s Potion Peters EP 7678
Mackay Tango Four Modern Dance Tunes Stainer
Mozart M. Duport’s Menuet The Essential String Method, Violin bk 4 Boosey
Nelson Toad in the Hole [top part only] Boosey
Purcell Minuett from The Double Dealer Violin Grade 2 — 2004–2009 Trinity
Schubert Two German Dances [complete] The Essential String Method, Violin bk 4 Boosey
Trad. Drowsy Maggie The Fiddler Playalong Collection 1 Boosey
Trad. East Tennessee Blues The Fiddler Playalong Collection 1 Boosey
Trad. Stoney Point The American Fiddler Boosey
Trad. Danny Boy Jigs, Reels & Hornpipes Boosey
Trad. Donna Donna Violin Grade 2 — 2004–2009 Trinity
Trad. Star of the County Down Violin Grade 2 — 2004–2009 Trinity
Trad. The Oak and the Ash* Violin Grade 2 — 2004–2009 Trinity
28
Violin — Grade 2
Trad. (Irish) Paddy O’Rafferty* Violin All Sorts Grades 2–3 Trinity Faber
Trad. All the Pretty Little Horses O Shenandoah! Faber
Weber Berceuse The Essential String Method, Violin bk 4 Boosey
Wedgwood Buttercup or Keep Truckin’ Really Easy Jazzin' About for Violin Faber


The candidate will be asked to play one scale of their own choice from any of those listed below for
Grade 2. The scale should be played with the rhythm d D on each degree of the scale, separate bows.
The exercise may end with an additional long note on the tonic. [d D d ] [q = 80]
The following scales and arpeggios to be prepared:
moment's pause), the arpeggio; each scale/arpeggio pair to be played with separate bows or slurred as
requested by the examiner.
G major (two octaves)
C major (one octave)
F major (one octave)
D major (one octave, starting on the A string in 3rd position)
E minor (one octave in 1st position)
D minor (one octave in 1st position)
Minor scales to be played in either natural or harmonic or melodic form, at candidate’s choice.
All scales and arpeggios to be prepared with separate bows and slurred in pairs.
Technical Exercise (from memory):

Double Stops [octave and sixth]:
q = 50–75

  
          
     
29
Violin — Grade 2
or ii) Studies
1. Folk Dance
2. Farmer’s Song
3. Royal Procession
All studies are contained in the book Violin Scales, Arpeggios & Studies from 2007 published by Trinity
Guildhall.

Aural (see page 12)

30
Three pieces are to be played, at least one from each Group. Each piece must be by a different composer.
Instead of one item, candidates may offer their own composition (see page 11). One piece may be
unaccompanied.

Bizet Habanera (from Carmen) Fiddle Time Sprinters OUP
Braga La Serenata Violin All Sorts Grades 2–3 Trinity Faber
Cosyn What You Will Violin Grade 3 — 2004–2009 Trinity
Cullen Riding an Ostrich, no. 4
or On a Chair-Lift, no. 12 13 Ways of Getting There Schott ED 12849
Dancla Rêverie Violin Grade 3 — 2004–2009 Trinity
Donaldson Makin’ Whoopee The Fiddler Playalong Collection 1 Boosey
Kabalevsky Polka, no. 13 Twenty Pieces op. 80 Sikorski 2372
Korn
& Malycheva Big Burger Boogie and Tanz* Dancing Violin Doblinger DE33002
Küchler Concertino in D, op. 15,
2nd movt: Siciliano and
3rd movt: Allegro assai Bosworth
Rieding Concerto in B minor op. 35,
2nd movt: Andante Bosworth
Shostakovich Leierkasten Albumstücke Peters EP 4794
Stone Berceuse Violin Grade 3 — 2004–2009 Trinity
Weber Allegramente Introduction to the Great Composers Bärenreiter BA 8110b
Wedgwood 2010, no. 8 Up-Grade! Violin Grades 2–3 Faber
Wilson J’s Dream Creative Variations vol. 1 Camden CM235
Kabalevsky Clowns, no. 17 Albumstücke Peters EP4783
Obijalska
& Wawruk The Moose called Patataj Fiddling Notes PWM 10037
Group B
Bass Tarantelle (Italy) Position Pieces for Violin & Piano book 3 Faber
Blackwell Tango* Fiddle Time Scales 2 OUP
Colledge Stiffkey blues, no. 21 Shooting Stars Boosey
Cullen White Water Rafting, no. 1 13 Ways of Getting There Schott ED 12849
Cullen Gliding, no. 5 13 Ways of Getting There Schott ED 12849
Dvořák Slavonic Dance Classical and Romantic Pieces book 3 OUP
Fleming Whistler’s Tune Violin Grade 3 — 2004–2009 Trinity
Haydn Theme
with Variations I, II and IV Violin Grade 3 — 2004–2009 Trinity
Howells Chosen Tune op. 28 no. 2 Three Pieces for Violin & Piano Stainer H405
Huws Jones Second Stride or Banana Skin Got Those Position Blues? Faber
Janáček Three Moravian Folk Songs
[complete] Amazing Solos Violin Boosey
Kabalevsky Sad Story op. 27
(Traurige Geschichte) Albumstücke Peters EP 4783
Korn Jazz-Etude* Dancing Violin Doblinger DE33002
Kroll Donkey Doodle Violin Grade 3 — 2004–2009 Trinity
31
Violin — Grade 3
Trad. Skye Boat Song* or

The Laird of Drumblair’s Strathspey*
or Song of the Volga Boatmen* Violin Grade 3 — 2004–2009 Trinity
Trad. Cripple Creek The American Fiddler Boosey
Trad. Ki Mitziyon [with repeats] Klezmers — Grade 2–3 de Haske 981359
Villoldo El choclo The Fiddler Playalong Collection 1 Boosey
Vodiczka Sonata op. 1 no. 3,
3rd movt: minuetto I and II Bohemian Violin Sonatas vol. 1 Henle HN 334


Grade 3. The scale should be played with eight semiquavers on each degree of the scale. The exercise
may end with an additional long note on the tonic. [q = 60]
either i) Scales, Arpeggios & Technical Exercises [all to be played from memory]
moment’s pause), the arpeggio; each scale/arpeggio pair to be played with separate bows or slurred as
D major (two octaves, starting on the open string)
A major (two octaves)
F major (one octave, starting on the D string in 2nd position)
Eb major (one octave)
A minor (two octaves)
G minor (one octave starting on the D string)
Minor scales to be played in either harmonic or melodic form, at candidate’s choice.
Scales to be prepared with separate bows and slurred in pairs; arpeggios to be prepared with separate
bows and slurred three notes to a bow.
Dominant 7th in the key of G (one octave, starting on D)

Dominant 7th in the key of A (one octave, starting on E)
To be prepared with separate bows only.
32
Violin — Grade 3
Technical Exercises (from memory):

The following exercises to be performed in the patterns shown:
a) Chromatic Phrase: The following exercise to be performed with separate bows, starting on the D string:
 - 2 - 2
 
1 1
        
b) Double Stops [octave, sixth and third]:

q = 60
     
         

or ii) Studies
1. Sweet and Sour Waltz
2. Space Journey
3. Fond Memories
All studies are contained in the book Violin Scales, Exercises & Studies from 2007 published by Trinity
Guildhall.

Aural (see page 12)

33
Three pieces are to be played, at least one from each Group. Each piece must be by a different
composer. Instead of one item, candidates may offer their own composition (see page 11). One piece may
be unaccompanied.

Bacewicz Concertino for Violin & Piano,
2nd movt: Romance PWM 6558
Bohm Spanish Dance Violin Grade 4 — 2004–2009 Trinity
Bridge Meditation Violin Grade 4 — 2004–2009 Trinity
Corelli Allemanda (Sonata op. 5 no. 8) Violin Grade 4 — 2004–2009 Trinity
Fauré Berceuse from Dolly, op. 56 Peters EP 7624
Fibich Sonatina op. 27, 3rd movt:
Allegro molto Bärenreiter Praha H 1442
Fitkin Glass Unbeaten Tracks Faber
Galay Flowering, no. 1 Klezmer Tunes 2 Or-Tav 22079
Gurlitt Impromptu First Repertoire for Violin Faber
Howard Fly me to the Moon** Jazz Sessions Violin Faber
Kabalevsky Summer Morning or Ping-Pong Twenty Pieces op. 80 Sikorski 2372
Norton Gentle Ride The Microjazz Violin Collection 2 Boosey
Obijalska
& Wawruk Gadabout Cat Violin Grade 4 — 2004–2009 Trinity
Rieding Pastorale op. 23 no. 2 Violin Grade 4 — 2004–2009 Trinity
Szelenyi Little Rhapsody 24 Easy Little Concert Pieces book 1 EMB Z 02648
Tchaikovsky Chanson Triste Real Repertoire for Violin Trinity Faber
Vodiczka Siciliana Baroque Violinist Boosey
Wilson Hey Joe–Let’s Meet Creative Variations vol. 1 Camden CM235
Group B
Baker Harlequin Violin Grade 4 — 2004–2009 Trinity
Bohm Perpetuo Mobile from Little Suite no. 6 Fischer CF 1006112
Carse Andante (Study no. 13)* Violin Grade 4 — 2004–2009 Trinity
Dancla Introduction and Rondo First Repertoire for Violin Faber
Gurlitt Barn Dance First Repertoire for Violin Faber
Hadjiev Rondino Young Violinist’s Repertoire book 4 Faber
Hotteterre Allemande La Royalle Baroque Violinist Boosey
Kabalevsky Scherzo, op. 27 Albumstücke Peters EP 4783
Loeillet Sonata in D minor op. 5 no. 3
de Gant 1st movt: Vivace
or 3rd movt: Rondeau Six Sonatas vol. 1: op. 5 nos. 1–3 EMA 102
Mackay Goblin’s Dance* Violin Grade 4 — 2004–2009 Trinity
Maschitti Giga Baroque Violinist Boosey
Rieding Gypsies’ March op. 23 no. 2 Bosworth BOE 004653
Shostakovich Tanz Albumstücke Peters EP 4794
Telemann Sonata no. 4, 4th movt: Allegro Sechs Sonaten Schott BP 480
Trad. Cotton Patch Rag The American Fiddler Boosey
34
Violin — Grade 4
Trad. Ragtime Annie* Violin Grade 4 — 2004–2009 Trinity

Trad. American Fiddle Dance Position Pieces for Violin & Piano book 3 Faber
Wedgwood Come Dance With me
or Survivor After Hours Faber

** Accompaniment must be played form chord symbols; CD accompaniment must not be used


Grade 4. The scale should be played with the rhythm    on each degree of the scale. The exercise
may end with an additional long note on the tonic. [q.= 50]
C major (two octaves)
Bb major (two octaves)
E major (one octave, starting on the A string in 4th position)
C minor (two octaves)
Bb minor (two octaves)
E minor (one octave starting on the A string in 4th position)
Scales to be prepared with separate bows and slurred four notes to a bow.
Arpeggios to be prepared with separate bows and slurred three notes to a bow.
Dominant 7th in the key of C (one octave, starting on G)

Dominant 7th in the key of D (one octave, starting on A)
Dominant 7th in the key of Eb (one octave, starting on Bb)
To be prepared with separate bows and slurred four notes to a bow.
Chromatic scale starting on open D (one octave)

35
Violin — Grade 4

a) Octaves:
q = 84
 
    
   
 




b) D major phrase:
q = 84
 0
            
1 2 3 4 3 2 1
0
or ii) Studies
1. Hungarian Violins!
2. The Grand House
3. Rustic Dance
Guildhall.

Aural (see page 12)

36
be unaccompanied.

Dancla Air Varie no. 3
[No Introduction] 6 Air Varies op. 89 Schirmer
Dvořák Romantic Piece op. 75 no. 1 Simrock
Elgar Salut d’amour Real Repertoire Trinity Faber
Elgar Chanson de matin
or Chanson de nuit Novello
Gál Sonatina no. 2 in Bb op. 71 no. 2,
3rd movt: Alla marcia 3 Sonatinas Schott VLB 92
Galay It’s Colder when you're Older
or At the Marketplace Klezmer Tunes 2 Or-Tav 22079
Goodman, Webb
& Sampson Stompin’ at the Savoy** Jazz Sessions Violin Faber
Grieg Einsamer Wanderer
(no. 2 of Lyric Pieces op. 43) Violin Grade 5 — 2004–2009 Trinity
Hadju Rondo Violin Music for Beginners 2 EMB
Järnefelt Berceuse for Violin & Piano Chester CH 00305
Martini/
Kreisler Andantino Violin Grade 5 — 2004–2009 Trinity
Mascagni Intermezzo* Violin Grade 5 — 2004–2009 Trinity
Paradis Sicilienne Violinist’s Collection bk 1 Schott ED 11197
Ravel Berceuse sur le nom de Gabriel Fauré Durand D & F 10270
Schubert Sonata no. 3 in G minor D. 408,
3rd movt: Menuetto 3 Sonatas for Violin & Piano op. 137 nos. 1–3
(and Trio) (D. 384, 385, 408) Bärenreiter BA 5606
Suk Melody Compositions for Violin & Piano Bärenreiter Praha H 7823
Wedgwood The Friends or Falling After Hours Faber
Youmans Tea for Two Violin Grade 5 — 2004–2009 Trinity
Group B
J S Bach Bourrée from French Suite
no. 6 in E, BWV 817* Violin Grade 5 — 2004–2009 Trinity
Benda Sonata in A minor,
Tempo di menuetto Classical Violinist Boosey
Carse Study no. 21* Violin Grade 5 — 2004–2009 Trinity
Corelli Sonata, op. 5 no. 8, 3rd movt:
Sarabanda and 4th movt: Giga 12 Sonatas vol. 2 Schott IMC 908
Eccles Sonata no. 11 in G minor,
1st movt: Largo and
2nd movt: Corrente Violin Grade 5 — 2004–2009 Trinity
Gretchaninov Aveu op. 108/3 Universal UE 9639
Grieg Springar Halling and Springar Corda CMP 629
Kraemer Cossack Dance Gypsy Jazz, Intermediate Level Faber
37
Violin — Grade 5
Miles Bathwater Blues, no. 10 Creative variations vol. 1 Camden CM235

Pepusch Sonata no. 5 in D, 1st movt:
Adagio and 2nd movt: Allegro 6 Sonate da camera Schott VLB 96
Portnoff Russian Fantasia no. 2 in D minor
[all repeats] Bosworth
Senaillé Allegro from Sonata in D minor Real Repertoire for Violin Trinity Faber
Stone Frolic Violin Grade 5 — 2004–2009 Trinity
Telemann Sonata no. 1 in G minor, 1st movt:
Adagio and 2nd movt: Allegro Schott
Tessarini Concerto in G op. 1 no. 3,
1st movt: Allegro Boosey
Veracini Sonata Academica in E minor,
op. 2 no. 8, Giga Baroque Violinist Boosey
Vivaldi Sonata in B minor, op. 5 no. 4
RV 35, 2nd movt: Allemanda Violin Grade 5 — 2004–2009 Trinity

** Accompaniment must be played from chord symbols; CD accompaniment must not be used


Grade 5. The scale should be played with a martelé bow stroke. [q = 88]
G major (three octaves)
B major (two octaves)
E major (two octaves)
Ab major (two octaves)
G minor (three octaves)
B minor (two octaves)
E minor (two octaves)
G# minor (two octaves)
Minor scales to be played in either melodic or harmonic form, at candidate’s choice.
3 octave scales and arpeggios to be prepared with separate bows and slurred three notes to a bow.
2 octave scales and arpeggios to be prepared with separate bows and slurred four notes to a bow
(scales) and six notes to a bow (arpeggios).
38
Violin — Grade 5
Chromatic scale starting on G (two octaves)

Chromatic scale starting on A (two octaves)
Dominant 7th in the key of C (two octaves, starting on G)

Dominant 7th in the key of Db (two octaves, starting on Ab)
Diminished 7th starting on D (one octave)


a) C major in double-stopped thirds:

  
         
b) Bb major in double-stopped sixths:
  
      
 
 
 
   
 
 
 
 
 

c) D major scale on one string:
    
3
   
2
     
3 4 2

0 1 2 1 2 1 2 1 1 2 1 0
   

or ii) Studies
1. Country Fair
2. Bee-Bop Blues
3. Heroic Film Tune
Guildhall.

Aural (see page 12)

39 39
be unaccompanied.
Group A Piece Publisher

Beethoven Sonata, op. 30 no. 2, Scherzo (from Classical Violinist) Boosey
Bloch Mélodie (from Violin Grade 6 — 2004–2009) Trinity
Brahms Hungarian Dance no. 5 (from Classical and Romantic Pieces book 4) OUP
Burrell The Secrets of the Dark Pool… (from Violin Grade 6 — 2004–2009) Trinity
Cui Orientale, op. 50 no. 9 Lengnick
Debski Country in E PWM 10118
di Capua O sole mio (from Violin Grade 6 — 2004–2009) Trinity
Fauré Berceuse op. 16 (from Anthology of Original Pieces for Violin & Piano) Peters EP 7515
Gluck/Kreisler Melodie Schott BSS 30956
Hille Czardas (from Music from the Romantic Era,
(from First Recital Pieces for Violin & Piano) Bosworth BOE005011
Kreisler Schön Rosmarin (from Fritz Kreisler Repertoire) Schott ED 8658
Lemba Poème d’amour Eres edition, 28859
lilienthal/Bremen
Martinů No. 1 of Five Madrigal Stanzas (from Violin Grade 6 — 2004–2009) Trinity
Medtner 2. Danza in C (from Zwei Canzonen mit Tanzen) Zimmermann ZM 31070
Trad. Black Eyes (from Gypsy Jazz, Intermediate Level) Faber
Trad. Dance from the Dodecanese and Tarantelle Napolitaine
(from Dances from Various Lands) Forsyth
Twardowski Oberek for Violin & Piano PWM 10345
Group B
J S Bach Sonata no. 1 in B minor BWV 1014, 3rd movt: Andante and 4th movt: Allegro
(from 6 Sonatas BWV 1014–1019, bk 1: Sonatas 1–3) Bärenreiter BA 5118
Chopin Mazurka in B minor op. 33 no. 4
(from Chopin for Violin & Piano 2- Famous Transcriptions) PWM 10365
Cowles Blues Variations [complete] Spartan SP385
Dancla Air Varié no. 5 (from 6 Air Variés, op. 89) Schirmer
De Falla Pantomime (from Manuel de Falla Music for Violin) Chester CH61248
Fiorillo Study no. 16, Largo* (from Violin Grade 6 — 2004–2009) Trinity
Galay Cooked Onions, no. 17 (from Klezmer Tunes 2) Or-Tav 22079
Handel Sonata in E HWV 373 (op. 1 no. 15), 1st movt: Adagio and 2nd movt: Allegro
(from Complete Violin Sonatas) Bärenreiter BA 4226
Handel attrib. Sonata in F, HWV 370, 1st movt: Adagio and 2nd movt Allegro
(from Violin Grade 6 — 2004–2009) Trinity
Hubay Bolero op. 51 no. 3 Bosworth BOE 004531
Leclair Tambourin Schott BSS 30 951
Mazas Study no. 35, Melody on the G String: Andante sostenuto*
(from Violin Studies (Etudes Brillantes) op. 36 book 2) Stainer
Pepusch Sonata no. 6 in F minor (from 6 Sonate da camera) Schott VLB 96
Pugnani/Kreisler Tempo di minuetto Schott CF 1064
40
Violin — Grade 6
Schubert Sonatina in G minor, op. post. 137 no. 3/D. 408, 4th movt: Allegro moderato
Stanley Sonata, op. 4, no. 1, Siciliana and Allegro (from Baroque Violinist) Boosey
Telemann Sonata no. 6 in A, 1st movt: Allemanda and 4th Movt: Giga
(from Six Sonatas) Schott BP 480
Telemann Allegro from Fantasia no. 9* (from Violin Grade 6 — 2004–2009) Trinity
Trott Study no. 1*(from Melodious Double-Stops book 2) Schirmer
Vitali Bergamasca per la lettera B* (from Violin Grade 6 — 2004–2009) Trinity
Wallen Woogie Boogie (from Unbeaten Tracks) Faber


Grade 6. Each note of the scale should be played as two spiccato quavers [q = 150]
The candidate should prepare major and minor scales and arpeggios from one of the following two
groups of tonal centres, to be played with separate bows or slurred as requested by the examiner. The
candidate may pause briefly between individual scales and arpeggios.
Candidates should prepare one of the two groups listed below:
Group 1: A (three octaves)
F (two octaves)
Eb (two octaves)
or
F# (two octaves)
C#/Db (two octaves)
Minor scales to be prepared in both melodic and harmonic forms.
Major tonal centre

When the examiner requests a major tonal centre, the candidate should play in succession:
The major scale
The major arpeggio
The dominant 7th starting on that note and resolving onto the tonic
Minor tonal centre

When the examiner requests a minor tonal centre, the candidate should play in succession:
The melodic minor scale
The harmonic minor scale
The minor arpeggio
41
Violin — Grade 6
Dominant 7ths to be prepared with separate bows and slurred four notes to a bow.
Diminished 7th starting on G (two octaves)

Chromatic scale starting on Bb (two octaves)


a) D major in double-stopped thirds:
   
            
3 1 4 2
   

b) Eb major in double-stopped sixths:

    
       etc.     etc.
   
c) D major in double-stopped octaves:
          
     
  
1 4 1 4
           
d) E major scale on one string:
2

1 2 1

2
  
 
4 2
 
3
 
1 1 2 3 2 1 1
       
or ii) Orchestral Excerpts

The candidate should choose two excerpts to perform, one from each of the following groups:
Group 1:
Johann Strauss: Die Fledermaus [Allegretto]
(from Test Pieces for Orchestral Auditions vol. 2, page 59 — bars 75-102) Schott ED 7851
Mozart: Symphony no. 39 [2nd movt: Andante con moto]
(from The Orchestral Violinist book 1, page 48) Boosey
Mozart: Symphony no. 41 [2nd movt: Andante cantabile]
(from The Orchestral Violinist book 1, page 15 — as far as letter A) Boosey
42
Violin — Grade 6
Group 2:
Mozart: Die Zauberflöte [Allegro]
(from Test Pieces for Orchestral Auditions vol. 2, page 49 — 2nd violin part) Schott ED 7851
Mozart: Symphony no. 39 [4th movt: Allegro]
(from The Orchestral Violinist book 1, pages 48/49 as far as the first beat of bar 41) Boosey
Haydn: Symphony no. 104 [4th movt: Spiritoso] (h = 116)
Rossini: Overture The Thieving Magpie [Allegro]
(from The Orchestral Violinist book 1, page 10 only) Boosey

Candidates to prepare i) and ii):
i) Sight Reading (see page 20)

ii) Aural (see page 12) or Improvisation (see page 15)
43
be unaccompanied.

Bacewicz Sonata no. 2, 2nd movt: Andante (from Violin Grade 7 — 2004–2009) Trinity
Beethoven Sonata op. 96, Scherzo and Trio (from Violin Grade 7 — 2004–2009) Trinity
Bruch Swedish Dance op. 63 no. 14 (from Violin Grade 7 — 2004–2009) Trinity
Debski Cantabile PWM 9996
Debussy La fille aux cheveux de lin Durand
Dvořák Romantic Piece op. 75 no. 2 Simrock
Grieg Sonata in G op. 13, Allegretto (from Romantic Violinist) Boosey
Howells Pastorale op. 28 no. 1 (from Three Pieces for Violin & Piano) Stainer H405
Ibert Le petit âne blanc, no. 2 of histoires Leduc AL 17963
Magi Vesper Eres
Medtner Nocturne in C minor, op. 16 no. 3 Boosey [custom print]
Moskowski Spanish Dance no. 2 (from Violin Grade 7 — 2004–2009) Trinity
Mussorgsky Hopak Schott BSS 32260
Paganini Cantabile (from The Romantic Violinist) Boosey
Poldini/
Kreisler The Dancing Doll (Poupée valsante) Fischer
Sibelius Romance op. 78 no. 2 Hansen WH 17879
Svendsen Romance op. 26 Hansen WH 12601
Williams Theme (from Three Pieces from Schindler’s List) Amsco
Group B
J S Bach Partita no. 3 in E, BWV 1006, Gigue* (from Violin Grade 7 — 2004–2009) Trinity
Benda Sonata in C, 3rd movt: Presto e Scherzando
(from Bohemian Violin Sonatas vol. 1) Henle HN 334
Bridge Moto Perpetuo Stainer H172
Ebenhöh Kaugummi* (from Violin Grade 7 — 2004–2009) Trinity
Glazunov/
Kreisler Serenade Espagnole IMC 1345
Handel Sonata in A, HWV 361 (op. 1 no. 3), 1st movt: Larghetto and 2nd movt: Allegro
Kreisler Menuett after Porpora Schott BSS 29021
Kreisler Sicilienne and Rigaudon (from Fritz Kreisler Repertoire) Schott ED 8658
Martinů Jazz Rhythms, no. 6 (from Rhythmical Exercises) Schott VLB 46
Mozart Sonata in F K. 377, 1st movt: Allegro Wiener Urtext UT 50033
Mozart Sonata in A, K 305, 1st movt Allegro di molto Henle HN 77
Papini Un Soir à Portici (from Music from the Romantic Era,
Recital Pieces for Violin & Piano) Bosworth BOE 005012
Pütz Twilight Dream (from Violin Grade 7 — 2004–2009) Trinity
Schmelzer Sonata no. 4, Adagio, Allegro and Presto (from Violin Grade 7 — 2004–2009) Trinity
44
Violin — Grade 7
Shostakovich Frühlingswalzer (from Albumstücke) Peters EP 4794

Telemann Fantasia no. 9 TWV 40:22, 1st movt: Siciliana and 2nd movt: Vivace*
(from 12 Fantasias for Solo Violin TWV 40:14-40:25) Bärenreiter BA 2972
Vivaldi Concerto in G, op. 9 no. 10 RV 300, 3rd movt: Allegro IMC 3400


Grade 7. The whole scale should be played with hooked bowing, as in the following example [q = 120]:
            
       
etc.

Group 1: G (three octaves)

B (three octaves)
Ab/G# (three octaves)
or
Group 2: D (three octaves)
A (three octaves)
B (three octaves)
Major tonal centre

When the examiner names a major tonal centre, the candidate should play in succession:
The major scale
The major arpeggio
Minor tonal centre

When the examiner names a minor tonal centre, the candidate should play in succession:
The minor arpeggio
All scales to be prepared with separate bows and slurred seven notes to a bow.
45
Violin — Grade 7
All arpeggios to be prepared with separate bows and slurred nine notes to a bow.
Chromatic scale starting on B (two octaves)

Chromatic scale starting on Ab (two octaves)
To be prepared with separate bows and slurred six notes to a bow
Diminished 7th starting on A (two octaves)

Diminished 7th starting on Ab/G# (two octaves)
To be prepared with separate bows and slurred four notes to a bow
Technical Exercises (from memory)

Double stops
a) C major in thirds (one octave):
                     etc.
 
b) D major in thirds (one octave):
       
               etc.
c) Bb major in sixths (one octave)

      
           
  etc.
d) D major in octaves (one octave):
    
      etc.

Group 1:
Verdi: Aida [Act 4 Finale — Andantino ]
(from Test Pieces for Orchestral Auditions vol. 2, page 72 — first 4 lines only) Schott ED 7851
Bartók: Concerto for Orchestra [Elegia]
Dvořák: Serenade for Strings [Larghetto]
(from The Orchestral Violinist book 1, page 26 — as far as the down beat of bar 47) Boosey
Group 2:
Mendelssohn: Ein Sommersnachtstraum [Scherzo: q.= 80]
(from Test Pieces for Orchestral Auditions vol. 2, pages 34–36 — 1st violin part) Schott ED 7851
46
Violin — Grade 7
Weber: Overture Oberon [Allegro con fuoco: q = 112]

(from The Orchestral Violinist book 1, pages 6/7 — bars 23–58) Boosey
Berlioz: Overture Roman Carnival [Allegro vivace]
(from The Orchestral Violinist book 1, pages 32/33 as far as figure 9) Boosey
Mozart: Symphony no. 35 [1st movt: Allegro con spirito]

ii) Sight Reading (see page 20)

47
be unaccompanied.

Bartók First Rhapsody, 1st movt: Prima parte (“Lassú”) Boosey
Boulanger D’un matin de printemps Durand
Brahms Sonata in A op. 100, 3rd movt: Allegretto grazioso (quasi andante) Wiener Urtext UT 50012
Cerha Meditation (from Two Pieces for Violin & Piano) Doblinger DE03279
Chopin Nocturne XVIII (from 2 Nocturnes) Durand
Chopin Polonaise in C# minor op. 26 no. 1
(from Chopin for Violin & Piano 1 – Famous Transcriptions) PWM
Fibich Poëm, no. 2 (from Encore! Tasmin Little) Chester CH61091
Gershwin/
Heifetz It Ain’t Necessarily So (from Porgy and Bess) Faber
Grieg Sonata in C minor, op. 45, 2nd movt: Allegretto espressivo alla Romanza Henle HN 700
Janáček Dumka (from Violin Grade 8 — 2004–2009) Trinity
Kreisler Variations on a theme by Corelli Schott BSS 29027
Oja The Ancient Song and Magri’s Tomb (from Alita’s Suite) Eres 2746
Schulhoff Sonata for solo violin: 2nd movt: Andante cantabile*
(from UE 1901–2001 ) Universal UE22002
Smetana Aus der Heimat, 2nd movt: Andantino Peters EP 2634
Suk Appassionata, no. 2 (from Four Pieces op. 17) Simrock
Takemitsu Distance de Fee Schott SJ 1050
Wieniawski Violin Concerto no. 2, Romanze (from Violin Grade 8 — 2004–2009) Trinity
Williams Remembrances (from Three Pieces from Schindler’s List) Amsco
Group B
Albéniz Sevilla (from Spanish Violin Music) UME
J S Bach Partita no. 2 in D minor BWV 1004, Allemanda or Corrente or Giga
or Partita no. 1 in B minor BWV 1002, any one Double
(from Three Sonatas and Three Partitas BWV 1001–1006 Bärenreiter BA 5116
Baltzar Divisions on a Ground: John Come Kiss me Now*
(Violin Grade 8 — 2004–2009) Trinity
Beethoven Sonata in D, op. 12 no. 1, Rondo Henle HN 7
Bellisario Study no. 6* (from Violin Grade 8 — 2004–2009) Trinity
Corelli Sonata op. 5 no. 1, 1st movt (from Violin Grade 8 — 2004–2009) Trinity
Drdla Perpetuo (The Humming Bird) Universal UE 5399
Drdla The Hut is on Fire, no. 3
(from Music from the Romantic Era — 8 Hungarian Dances op. 30) Bosworth BOE005124
Fiorillo Study no. 28, Allegro assai (from 36 Studies for Violin) IMC
Handel Sonata in D HWV 371 (op. 1 no. 13), 1st movt: Affettuoso and 2nd movt: Allegro
Holland Agitation* (from Violin Grade 8 — 2004–2009) Trinity
Kreisler Zigeuner-Capriccio or Liebesfreud (from Fritz Kreisler Repertoire) Schott ED 8658
Leclair Sonata in D, op. 9 no. 3, 1st movt: un poco andante and 2nd movt: Allegro
48
Violin — Grade 8
Mozart Concerto no. 2 in D, KV 211, 3rd movt: Rondeau (Allegro) Bärenreiter BA 4864a
Mozart Sonata in Bb, K. 454, 1st movt: Largo and 2nd movt: Allegro
Prokofiev Sonata for Violin Solo op. 115, 1st movt: moderato* Sikorski 2152
Schumann Sonata in A minor op. 105, 1st movt: Mit leidenschaftlichem Ausdruck Peters EP 2367
or Henle HN 428
Tartini Sonata in G minor, Didone abbandonata op. 1 no. 10,
2nd movt: Presto and 3rd movt: Allegro PWM 05832050
Vivaldi Concerto no. 1 in E, Spring op. 8 no. 1 (RV 269), 1st movt: Allegro
or 3rd movt: Allegro (from The Four Seasons [complete]) Bärenreiter BA 6994a


Grade 8. The examiner will choose any one of the specified bowings from previous grades and ask the
candidate to play their scale with that bowing.

A (three octaves)
Eb (three octaves)
Db/C# (three octaves)
or
Group 2: C (three octaves)
D (three octaves)
Bb (three octaves)
Major tonal centre

The major scale
The major arpeggio
49
Violin — Grade 8
Minor tonal centre

The minor arpeggio
All scales and arpeggios to be prepared with separate bows and slurred one bow ascending, one bow
descending and a separate bow for the last note.
The chromatic scales starting on each of the four notes of the chosen group (two octaves).
To be prepared with separate bows and slurred twelve notes to a bow.
The diminished 7ths starting on each of the four notes of the chosen group (two octaves).
To be prepared with separate bows and slurred eight notes to a bow.

The following exercises to be performed:
a) C major in thirds (two octaves), follow Grade 7 example, but over two octaves.
b) D major in thirds (two octaves), follow Grade 7 example, but over two octaves.
c) G major in sixths (two octaves):
    
        
    etc.
d) G major in octaves (two octaves):


      etc.
   

The candidate should choose three excerpts to perform, at least one from each of the following groups:
Group 1:
Bruckner: Symphony no. 2 [2nd movt: Feierlich, etwas bewegt]
(from Test Pieces for Orchestral Auditions vol. 2, page 26 — as far as down beat of bar 157) Schott ED 7851
Tchaikovsky: Overture Romeo and Juliette [Allegro giusto]
(from The Orchestral Violinist book 1, page 18 — as far as letter R) Boosey
Bartók: Concerto for Orchestra [Introduzione: Andante non troppo]
(from The Orchestral Violinist book 1, page 34 — top part as far as bar 63) Boosey
Group 2:
Johann Strauss: Allegro moderato [bar 227 to end of extract]; and più vivo [q= 126]
(from Test Pieces for Orchestral Auditions vol. 2, pages 59–61 — top line) Schott ED 7851
Weber: Euryanthe [Allegro marcato con fuoco: h = 76]
(from Test Pieces for Orchestral Auditions vol. 2, page 79) Schott ED 7851
50
Violin — Grade 8
Britten: The Young Person’s Guide to the Orchestra [Var. E & Fugue] [q = 138]
(from The Orchestral Violinist book 1, page 3 — from letter M to the end) Boosey
Tchaikovsky: Overture Romeo and Juliette [Allegro giusto]
(from The Orchestral Violinist book 1, pages 18/19 — bar 112 to the end) Boosey
Rimsky-Korsakov: Capriccio Espagnol [Vivace assai]


51
Viola — Initial Subject code: VLA

Blackwell Daydream, no. 24 Viola Time Joggers OUP
Colledge Goldfish Bowl, no. 3 Waggon Wheels for Viola Boosey
Huws Jones Gypsy The Really Easy Viola Book Faber
Huws Jones Honey-pie The Really Easy Viola Book Faber
Huws Jones Paddling By Ten O’Clock Rock for Viola & Piano Boosey
Huws Jones Waltzing with Liz Ten O’Clock Rock for Viola & Piano Boosey
Nelson Choo Chug a Chug
[part marked E] Tetratunes Boosey
Nelson Swingalong [part marked E] Tetratunes Boosey
Nelson Over the Moon, no. 8 Piece by Piece 1 Boosey
Nelson Marzipan March (variation) The Essential String Method for Viola book 2 Boosey
Nelson I am a River The Essential String Method for Viola book 2 Boosey
Nelson Ice Dance The Essential String Method for Viola book 2 Boosey
Nelson Lullaby Right from the Start Boosey
Trad. French French Folk Song The Essential String Method for Viola book 2 Boosey
Trad. Cuckoo Round The Essential String Method for Viola book 2 Boosey
Trad. Twinkle Duet [top part] The Essential String Method for Viola book 2 Boosey
Trad. Miss Mary Mac, no. 25 Abracadabra Viola book 1 A & C Black
Trad. French Au Clair de la lune, no. 23 Abracadabra Viola book 1 A & C Black
Group B
Blackwell City Lights, no. 23 Viola Time Joggers OUP
Cohen Rockets to the Rescue* Superstudies for Viola book 1 Faber
Colledge Westminster Abbey Waggon Wheels for Viola Boosey
Colledge Knickerbocker Glory Waggon Wheels for Viola Boosey
Huws Jones Ten O’Clock Rock Ten O’Clock Rock for Viola & Piano Boosey
Huws Jones Ink-Spot Ten O’Clock Rock for Viola & Piano Boosey
Huws Jones Back-Scratcher Ten O’Clock Rock for Viola & Piano Boosey
Huws Jones Lazy Blue The Really Easy Viola Book Faber
Huws Jones Rock-a-bye Rhino The Really Easy Viola Book Faber
Lumsden &
Wedgwood Strong Iguanodon Jurassic Blue for Viola & Piano Faber
Nelson Trot Along Piece by Piece 1 Boosey
Nelson Pizzicato Pie Piece by Piece 1 Boosey
Nelson Fed Up The Essential String Method for Viola book 2 Boosey
Nelson Shortnin’ Bread [with repeat] The Essential String Method for Viola book 2 Boosey
Nelson Let’s Have a Holiday The Essential String Method for Viola book 2 Boosey
Trad. Big Ben, no. 34 [top part] Abracadabra Viola book 1 A & C Black
Trad. Moravian Carol The Essential String Method for Viola book 2 Boosey
52
Viola — Initial

As given in Viola Scales, Arpeggios & Studies from 2007 published by Trinity Guildhall.

The following scales to be performed from memory, with the indicated rhythmic patterns on each note,
as requested by the examiner:
All examples start on the open string:
C major
 
                  etc.
G major
                   etc.
D major
                 
etc.

Aural (see page 12)

53
Viola — Grade 1 Subject code: VLA

Blackwell Flamenco Dance, no. 26 Viola Time Runners OUP
Chevillard Andante, no. 2 L’alto classique vol. A Combre
Cohen Gliding Along at the
Octopus Ball*
or Rocking Rowboats* Superstudies for Viola book 1 Faber
Colledge Windscreen Wipers Waggon Wheels for Viola Boosey
Cowles Water’s Edge First Finger Patterns Fentone F482
Huws Jones Panther, no. 9 The Really Easy Viola Book Faber
Lumsden &
Wedgwood Fly High, Pterodactyl Jurassic Blue for Viola & Piano Faber
Morley Now is the Month of Maying 14 Easy Tunes for Viola Fentone F830
Nelson Octopiece, no. 16 Piece by Piece 1 Boosey
Nelson The Busybody The Essential String Method for Viola book 3 Boosey
Nelson Reeling Around The Essential String Method for Viola book 3 Boosey
Rodgers Edelweiss, no. 50 Abracadabra Viola book 1 A & C Black
Trad. Muck!, no. 62 Abracadabra Viola book 1 A & C Black
Trad. I Have a Bonnet The Essential String Method for Viola book 3 Boosey
Trad. Pease Pudding Hot
[Theme and all variations] The Essential String Method for Viola book 3 Boosey
Trad. Lament [with repeat] First Repertoire for Viola book 1 Faber
Trad. Drink to me Only, no. 20 Piece by Piece 1 Boosey
Trad. When a Knight won his Spurs Play it Again Faber
Wilkinson
& Bass Lazy Beat Viva Viola! Faber
Group B
Blackwell Aerobics!, no. 32 Viola Time Runners OUP
Colledge Polka Dots, no. 15 Waggon Wheels for Viola Boosey
Dawe Russia – Gopak, no. 5 Travel Tunes for Viola Cramer
Huws Jones Toodle-Pip, no. 18 Ten O’Clock Rock for Viola & Piano Boosey
Mozart Two Minuets The Essential String Method for Viola book 3 Boosey
Nelson Mad as a Hatter Piece by Piece 1 Boosey
Nelson Flag Dance Piece by Piece 1 Boosey
Nelson Rigadoon Piece by Piece 1 Boosey
Nelson The Last Word The Essential String Method for Viola book 3 Boosey
O’Carolan Peggy Morton The Essential String Method for Viola book 3 Boosey
Schubert Spring Time Round The Essential String Method for Viola book 3 Boosey
Rae Curtain Up! Play it Cool for Viola Universal
Trad. English Shepherd’s Hey First Repertoire for Viola book 1 Faber
Trad. I am a Fine Musician The Essential String Method for Viola book 3 Boosey
Trad. Old Joe Clark O Shenandoah! Faber
Trad. Somebody’s Knocking
at your Door Viola Time Runners OUP
Trad. What shall we do with
the Drunken Sailor? Play It Again Faber
54
Viola — Grade 1

Bowing Exercise (from memory)

one down bow and one up bow. [q = 66]
either i) Scales, Arpeggios & Technical Exercises (from memory)

Candidate should prepare scales and arpeggios from one of the two groups listed below:
moment's pause), the arpeggio; each scale/arpeggio pair to be played with separate bows or slurred as
Group 1: F major (one octave, starting on the 3rd finger)
C major (one octave, starting on the 3rd finger)
G minor (to the 5th, starting on the open string)
or
Group 2: C major (one octave, starting on the open string)
D major (one octave, starting from the 1st finger in 1st position)
A major (one octave, starting from the 1st finger in 1st position)
A minor (to the 5th, starting on the G string)
Scales to be prepared with separate bows and slurred in pairs (Upper tonic may be repeated).
Technical Exercise (from memory)

   
    
 

 

55
Viola — Grade 1
or ii) Studies
1. Floating Leaf in a Stream
2. Continental Song
3. Marching On!
All studies are contained in the book Viola Scales, Arpeggios & Studies from 2007 published by Trinity
Guildhall.

Aural (see page 12)

56

R R Bennett A Country Walk Up Bow, Down Bow Novello
Brahms The Sandman
(L’homme au sable) L’alto classique vol. A Combre
Cohen Tawny Owl Blues* Superstudies for Viola book 1 Faber
Cohen Overture and Beginners…* Superstudies for Viola book 2 Faber
Colledge The Misty Isle, no. 7 Shooting Stars for Viola Boosey
Elgar Andantino, no. 4
or Andante, no. 3 Six Very Easy Pieces op. 22 Bosworth
Farnaby His Rest [with repeat] Chesterian String Series book 1 Chester
Gluck Divertissement L’alto classique vol. A Combre
Gretchaninov Homesickness, no. 2 In Aller Frühe (Early Morning) Schott ED8757
Kelly Fanfare March Composers Series for Viola & Piano Bosworth
Kelly Sunday Morning Composers Series for Viola & Piano Bosworth
Nelson Reel [top part only] Technitunes Boosey
Rae Blowin’ Cool Play it Cool for Viola Universal
Tchaikovsky Old French Song, p. 26 The Essential String Method for Viola book 4 Boosey
Trad. Upon Paul’s Steeple The Essential String Method for Viola book 4 Boosey
Trad. Camptown Races The Essential String Method for Viola book 4 Boosey
Valentine Sonata no. 9 in A minor: Adagio Schott
Group B
R R Bennett Fives Up Bow, Down Bow Novello
Clarke Trumpet Voluntary 1st Recital Series for Viola Curnow 0842.03 CMP
Colledge Fast Forward, no. 17 Fast Forward for Viola Boosey
Haydn Dance for a Party The Essential String Method for Viola book 4 Boosey
Holst Jupiter (from The Planets) The Classic Experience for Viola & Piano Cramer 90536
Mozart M. Duport’s Menuet The Essential String Method for Viola book 4 Boosey
Nelson Toad in the Hole [top part only] Technitunes Boosey
Nelson Mrs Merryweather The Essential String Method for Viola book 4 Boosey
Paxton Scots Air First Repertoire for Viola book 1 Faber
Schubert Two German Dances The Essential String Method for Viola book 4 Boosey
Sullivan Prithee, Pretty Maiden 14 Easy Tunes for Viola Fentone F830
Trad. Hebrew Hatikvah First Repertoire for Viola book 1 Faber
Trad. The Lincolnshire Poacher Technitunes Boosey
Trad. All the Pretty Little Horses O Shenandoah! Faber
Trad. Simple Gifts O Shenandoah! Faber
Trad. Floral Dance 14 Easy Tunes for Viola Fentone F830
Vivaldi Autumn The Essential String Method for Viola book 4 Boosey
Wilkinson
& Bass Banana Bay Viva Viola! Faber
Wilkinson
& Bass Romans on the March Viva Viola! Faber

57
Viola — Grade 2


The exercise may end with an additional long note on the tonic. [d D d ] [q = 80]
either i) Scales, Arpeggios & Technical Exercise (from memory)

moment’s pause), the arpeggio; each scale/arpeggio pair to be played with separate bows and slurred as
Bb major (one octave)
G major (one octave, starting on the D string in 3rd position)
A minor (one octave in 1st position)
G minor (one octave in 1st position)
Minor scales to be played in either natural or harmonic or melodic form, at candidate’s choice.
All scales and arpeggios to be prepared with separate bows or slurred in pairs.

Double Stops [octave and sixth]:
q = 50–75
     



 



 

 
 
or ii) Studies
1. Folk Dance
2. Farmer’s Song
3. Royal Procession
Guildhall.
58
Viola — Grade 2

Aural (see page 12)

59
Instead of one item, candidates may offer their own composition (see page 11). One piece may be unac-
companied.

Chapple Unsquare Dance Composers Series for Viola & Piano Bosworth
Cohen Hot Chocolate Treat*
or Fivepenny Waltz* Superstudies for Viola book 2 Faber
Colledge By Candlelight Shooting Stars for Viola Boosey
Grieg Morning (from Peer Gynt Suite) The Classic Experience for Viola & Piano Cramer 90536
Handel Tempo di Gavotta A Second Year Classical Album for Viola Players OUP
Jones Andante cantabile, no. 2 Three Pieces for Viola & Piano Schott ED 11260
Mozart Andante The Young Violist vol. 1 Bosworth VWP 67
Mozart Larghetto A Second Year Classical Album for Viola Players OUP
Mozart Papageno’s Song First Repertoire for Viola book 1 Faber
Nelson Dragonfly Technitunes Boosey
Rieding Concerto in D op. 36,
3rd movt: Allegro Bosworth
Steibelt Romanze, no. 16 First Repertoire for Viola book 2 Faber
Trad. Were you There?, no. 15 First Repertoire for Viola book 3 Faber
Group B
C P E Bach Three Little Pieces:
no. 1 and no. 3 Chesterian String Series book 1 Chester
Barrell Final Dance, no. 4 A Pageant of Pieces for Viola & Piano Stainer H270
Bizet Carmen (Overture) The Classic Experience for Viola & Piano Cramer 90536
Charpentier Prelude, no. 5 First Repertoire for Viola book 2 Faber
Cohen Saturday Night Stomp, no. 2* Superstudies for Viola book 2 Faber
Colledge Moto Perpetuo Shooting Stars for Viola Boosey
Colledge Stiffkey Blues Shooting Stars for Viola Boosey
Copland Simple Gifts Copland for Viola Boosey
Corelli Gavotte The Young Violist vol. 1 Bosworth VWP 67
Cosyn What You Will Chesterian String Series book 1 Chester
Haydn Poco adagio from
the Kaiser Quartet First Repertoire for Viola book 3 Faber
Huws Jones Banana Skin or Second Stride Got Those Position Blues? Faber
Joplin The Entertainer 14 Easy Tunes for Viola Fentone F830
Nelson Swiss Waltz [top part only]
or German Dance Technitunes Boosey
Telemann Gavotte, no. 6 First Repertoire for Viola book 3 Faber
Telemann Suite in D for Viola & Piano:
La Trompette Schott ED 10196
60
Viola — Grade 3


Grade 3. The scale should be played with eight semiquavers on each degree of the scale. The exercise
either i) Scales, Arpeggios & Technical Exercises [all to be played from memory]
G major (two octaves, starting on the open string)
D major (two octaves)
Bb major (one octave, starting on the G string in 2nd position)
Ab major (one octave)
D minor (two octaves)
C minor (one octave starting on the G string)
Scales to be prepared with separate bows and slurred in pairs.
Dominant 7th in the key of C (one octave, starting on G)

See pages 8–9 for examples of rhythmic and bowing patterns for scales

The following exercises to be performed in the patterns shown:
a) Chromatic Phrase: The following exercise to be performed with separate bows, starting on the G string:
         
2 - 2
 
1 - 1
b) Double Stops [octave, sixth and third]:

q = 60
           
    
61
Viola — Grade 3
or ii) Studies
1. Sweet and Sour Waltz
2. Space Journey
3. Fond Memories
Guildhall.
Supporting Tests
Aural (see page 12)

62
Three pieces are to be played, at least one from each Group. Each piece must be by a different compos-
er. Instead of one item, candidates may offer their own composition (see page 11). One piece may be
unaccompanied.

Beethoven Song of Farewell and Song
of Love from Three Songs Popular Pieces OUP
Boyle Dance Prelude no. 3
from Four Dance Preludes Composers Series for Viola & Piano Bosworth
Bridge Meditation Ten Pieces for Viola & Piano vol. 2 Thames TH978646
Copland Vieux Póeme Copland for Viola Boosey
Elgar Nimrod
(from the Enigma Variations) The Classic Experience for Viola & Piano Cramer 90536
Fauré Pavane The Classic Experience for Viola & Piano Cramer 90536
Glass Three Simple Pieces, no. 1: Commodo Griffiths
Glasser The Kite Composers Series for Viola & Piano Bosworth
Marais L’agréable Five Old French Dances Chester CH56366
Offenbach Valse & Galop
from La belle Hélène First Repertoire for Viola book 3 Faber
Pachelbel Canon Presser 114-40757
Pergolesi Arietta Graded Pieces for Viola vol 2 Chester
Pergolesi Siciliana Bratschissimo Bosworth BOE 4403
Roche Chant Pastoral Combre
Rubinstein Mélodie L’alto classique vol. C Combre
Schumann Allegro from Kinder Sonate First Repertoire for Viola book 2 Faber
Trad. Peruvian Stars, No Moon Amazing Solos Viola Boosey
Wilkinson
& Bass Mazurka Viva Viola! Faber
Group B
Cohen Prelude, no. 1* Technique Takes Off! Faber
Cohen Heidi Hi!, no. 5* Superstudies for Viola book 2 Faber
Daquin Rigaudon, no. 9 L'alto classique vol. C Combre
Dodgson Humoreske, no. 2 Four Fancies for Viola & Piano Chappell
Eccles Aire Round O Graded Pieces for Viola vol. 2 Chester
Ellington It Don’t Mean a Thing Amazing Solos Viola Boosey
Gretchaninov On Winter’s Eve or Burlesque In Aller Frühe (Early Morning) Schott ED8757
Handel Sonata in C, 1st movt: Adagio
and 2nd movt: Allegro Music for Viola vol. 1 EMB
Heller Andantino Graded Pieces for Viola vol. 2 Chester
Huws Jones Open Sesame Got Those Position Blues? Faber
Jones Allegro, no. 1 Three pieces for Viola & Piano Schott ED 11260
Kreuz Study no. 27 [top part]* Select Studies for the Viola book 1 Stainer 7657A
Milnes Sonatina in G, 1st movt: Not too fast Piper PP Va007
Mozart Allegro Amazing Solos Viola Boosey
Viotti Pastorale Graded Pieces for Viola vol. 2 Chester
Widger Gutsy Cowboy Easy Jazz Viola Spartan SP278
63
Viola — Grade 4


may end with an additional long note on the tonic. [q. = 50]

F major (two octaves)
Eb major (two octaves)
A major (one octave, starting on the D string in 4th position)
F minor (two octaves)
Eb minor (two octaves)
A minor (one octave starting on the D string in 4th position)
Scales to be prepared with separate bows and slurred four notes to a bow.
Dominant 7th in the key of F (one octave, starting on C)

Dominant 7th in the key of G (one octave, starting on D)
Dominant 7th in the key of Ab (one octave, starting on Eb)
Chromatic scale starting on open G (one octave)


a) Octaves:
q = 84
      
          
b) G major phrase:
q = 84
          
0
  
1 2 3 4 3 2 1
0
64
Viola — Grade 4
or ii) Studies
1. Hungarian Violas!
2. The Grand House
3. Rustic Dance
Guildhall.

Aural (see page 12)

65
companied.

Albéniz Tango L’alto classique vol. C Combre
Bernstein Maria from West Side Story Amazing Solos Viola Boosey
Classens Concertino no. 2
in D major and minor Three Concertinos for Viola Combre
Elgar Chanson de matin
or Chanson de nuit Chanson de matin & Chanson de nuit Novello
Farnaby Nobodye’s Gigge Graded Pieces for Viola vol. 2 Chester
Flackton Sonata no. 4 in C minor op. 2 no. 8,
1st movt: Adagio Schott
Grieg Heart’s Sorrows
from Two Elegaic Melodies Classical and Romantic Pieces for Viola & Piano OUP
Hoiby Ciaconetta Presser 114-40645
Joplin Bethena Joplin Rags for Viola & Piano Spartan SP526
Kalliwoda Nocturne no. 3 Nocturnes op. 186 IMC 1221
L Mozart Concerto in D for Viola,
2nd movt: Adagio Kunzelmann GM 810
Schubert Serenade Bratschissimo Bosworth
Shostakovich Romance from The Gadfly S J Music
Sitt Moderato, no. 1 Album Leaves op. 39 IMC
Tchaikovsky Chanson Triste Chester Music for Viola Chester CH 00817
Group B
J S Bach Cello Suite no. 1 BWV 1007:
Gigue* Six Suites for Solo Cello [Viola ed.] Peters EP 7489
Beethoven Notturno op. 42, 1st movt:
Marcia, allegro Schott ED 10091
Bizet Seguidilla from Carmen Amazing Solos Viola Boosey
Chapple For Latin Lovers Composers Series for Viola & Piano Bosworth
Fiocco Allegro Viola World
Flackton Sonata in C op. 2 no. 4, 1st movt:
Largo grazioso
and 2nd movt: Allegro Schott
Francoeur Sonata in A: Gigue or Sarabande
and Gavotte Viola World
Handel Sonata in G minor, 2nd movt:
Allegro Schott ED 10114
Jenkinson Elfentanz Bosworth
Pepusch Largo and Allegro in D minor Broekmans
Rubinstein Allegro con moto, no. 2 3 Salonstücke Amadeus
Rust Sonata in C [complete] Wollenweber WW60a
Schubert Ballet Music from Rosamunde Classical and Romantic Pieces for Viola & Piano OUP
Tchaikovsky Neapolitan Song L’alto classique vol. C Combre
Telemann Suite in D for Viola & Piano,
Courante and Double Schott ED 10196
66
Viola — Grade 5


Grade 5 with one note on each degree of the scale. The scale should be played with a martelé bow
stroke. [q = 88]

C major (three octaves)
Db major (two octaves)
C minor (three octaves)
C# minor (two octaves)
Dominant 7th in the key of F (two octaves, starting on C)

Dominant 7th in the key of Gb (two octaves, starting on Db)
Chromatic scale starting on C (two octaves)

Chromatic scale starting on D (two octaves)
Diminished 7th starting on G (one octave)

67
Viola — Grade 5

a) F major in double-stopped thirds:
      
       
b) Eb major in double-stopped sixths:

         
                
 

c) G major scale on one string:
  
       
2 3
 
1 4 2
   
3 1 2
 
0 1 2 1 1 1
 
2 2 0
or ii) Studies
1. Country Fair
2. Bee-Bop Blues
3. Heroic Film Tune
Guildhall.

Aural (see page 12)

68
be unaccompanied.

Albéniz Mallorca UME 21443
Bartók An Evening in the Village
(from An Evening at the Village & Slovak Peasant’s Dance) EMB Z. 5453
Bridge Serenade (1903) (from Four Pieces for Viola & Piano) Faber
Bridge Gondoliera or Spring Song (from Ten Pieces for Viola & Piano vol. 2) Thames TH978646
Butterworth Pastorale op. 112 Comus
Clarke Passacaglia on an Old English Tune Schirmer
Dvořák Larghetto from Sonatina op. 100
(from Classical and Romantic Pieces for Viola & Piano) OUP
Fauré Sicilienne op. 78 Peters
Granados Danza Espanola no. 2, Oriental UME
Hewitt-Jones Andante cantabile Musicland
Mozart Andante from Piano Sonata KV 330 (from Classical Pieces vol. 2) Peters 3853b
Schumann Märchenbilder op. 113, no. 1: Nicht schnell or no. 4: Langsam Breitkopf or Henle HN 632
Sibelius Valse Triste op. 44 no. 1 Breitkopf 2284
Vaughan
Williams Fantasia on Greensleeves OUP
Vaughan
Williams Suite for Viola & Orchestra: Carol OUP
Group B
J S Bach Viola da gamba Sonata no. 2 BWV 1028, 1st movt: Adagio
and 2nd movt: Allegro (from 3 Sonatas BWV 1027–1029) Bärenreiter BA 5186
C P E Bach Sonata in G minor Wq 88, 3rd movt: Allegro assai Schott VAB 2
Beethoven Rondo for Viola & Piano Schott ED 10562
Bonporti Invention op. 10 no. 3, 4th movt: Bizarria (from Two Inventions) Kunzelmann GM 1195
de Caix
d’Hervelois Tambourin (from Solos for the Viola Player) Schirmer
Francoeur Sonata in A major, Allemande Viola World
Gade Sonata no. 2 in D minor op. 21, 2nd movt: Larghetto, Allegro vivace Breitkopf EB 8458
Haydn Divertimento in D: Allegro di molto Elkan-Vogel
Leclair Tambourin (from L’alto classique vol. C) Combre
Mendelssohn Song without Words from Capriccio op. 81
(from Classical and Romantic Pieces for Viola & Piano) OUP
Richardson Sussex Lullaby Comus 042a
Senaillé Sonata in G minor op. 5 no. 9, 1st movt: Largo and 2nd movt: Allegro Stainer H380
Sitt Allegro molto vivace, no. 6 (from Album Leaves) IMC
Tchaikovsky Barcarolle (from Chester Music for Viola) Chester CH 00817
Telemann Concerto in G TWV 51: 9, 1st movt: Largo and 2nd movt: Allegro
or 3rd movt: Andante and 4th movt: Presto Bärenreiter BA 5878a
Vivaldi Suite in Bb, 3rd movt: Adagio and 4th movt: Allegro Leduc AL 21 244

69
Viola — Grade 6


Grade 6. Each note of the scale should be played as two spiccato quavers. [q = 150]


Bb (two octaves)
Ab (two octaves)
or
B (two octaves)
F# (two octaves)
Minor scales to be played in both melodic and harmonic forms.
Major tonal centre

The major scale
The major arpeggio
Minor tonal centre

The minor arpeggio
Chromatic scale starting on Eb (two octaves)

Diminished 7th starting on C (two octaves)

To be prepared with separate bows and four notes to a bow.
70
Viola — Grade 6

a) G major in double-stopped thirds:
                   
1 4 2
3
b) Ab major in double-stopped sixths:

   
          
   
etc. etc.
c) G major in double-stopped octaves:
             
    
4 4
 
1 1
         
d) A major scale on one string:

2
       
4 3 2
   
2 3
 
1 1 2 1 2 1 2 1 1
  

The candidate should perform the Beethoven extract [Group 1], together with one extract chosen from
Group 2.
Group 1:
Beethoven: Symphony no. 5 [Andante con moto]
(from Test Pieces for Orchestral Auditions, page 10) Schott ED 7852
Group 2:
Weber: Die Freischütz [Overture, Act 1 and Act 3]
(from Test Pieces for Orchestral Auditions, page 54 complete) Schott ED 7852
Bizet: Carmen [Act 1 and Act 4]
Rossini: Overture The Barber of Seville
Mozart: Symphony no. 40 [4th movt: Allegro assai]


71
be unaccompanied.

J C Bach Concerto in C minor, 2nd movt: Adagio molto espressivo Peters EP 8878
Brahms Sonata in F minor op. 120 no. 1,
2nd movt: Andante un poco adagio Wiener Urtext or Henle HN 231
Bridge Pensiero (from Two Pieces for Viola & Piano) Stainer H171
Fauré Pavane op. 50 Hamelle
Gershwin Three Preludes, no. 2: Andante con moto e poco rubato Viola World
Hindemith Meditation Schott
Marais Provençale or La musett (from Five Old French Dances) Chester CH56366
Massenet Meditation from Thaïs Viola World
Rachmaninov Vocalise op. 34 no. 14 Boosey
Ravel Pièce en forme d’Habañera Leduc
Rivier Concertino, 1st movt: Allegretto rustico Salabert
Sitt Romance op. 72 for Viola & Piano Amadeus BP 2545
Tchaikovsky Canzonetta Viola World
Tchaikovsky Valse Sentimentale Viola World
Zelter Concerto in Eb, 2nd movt: Adagio non troppo Kunzelmann GM 557
Group B
C P E Bach Sonata in G minor Wq 88, 1st movt: Allegro moderato Schott VAB 2
J S Bach Viola da gamba Sonata no. 2 BWV 1028, 3rd movt: Andante
and 4th movt: Allegro (from 3 Sonatas BWV 1027–1029) Bärenreiter BA 5186
J S Bach Cello Suite no. 3 BWV 1009,Bourée I and Bourée II*
or Courante* (from Six Suites for Solo Cello [Viola ed.]) Peters EP 7489
Bass Swing Caprice (from Themes & Dances for Viola & Piano) Musicland M1069
Benda Concerto in F, 3rd movt: Rondeau Schott
Brahms Hungarian Dance no. 1: Allegro molto
(from Two Hungarian Dances (nos. 1 & 3)) Hinrischen 699
Cowles Blues Variations Spartan SP386
De’Giardini The Billiard Sonata, 3rd movt: Allegro Scherzoso Weller & Cooper
Flackton Sonata in G op. 2 no. 6, 1st movt: Andante and 2nd movt: Allegro Schott
Gade Sonata no. 2 in D minor op. 21, 3rd movt: Adagio-Allegro moderato Breitkopf EB 8458
Haydn Menuet in C IMC
Joplin Pineapple Rag Viola World
Rainier Sonata, 1st movt: Allegro. Ricercare Schott
Telemann Fantasia no. 9, 1st movt: Siciliana and 2nd movt: Vivace* McGinnis & Marx
Vaughan
Williams Suite for Viola & Orchestra: Prelude OUP
Vivaldi Concerto in G minor RV 417, 2nd movt: Andante and 3rd movt: Allegro EMB Z. 12616
Werdin Greensleeves Variations, [omitting variations 1, 5 & 8] Doblinger 03 583
72
Viola — Grade 7
Technical Work (14 marks) (see page 11)


Grade 7. The whole scale should be played with hooked bowing, as in the following example [q = 120]:
       
    
   
etc.

E (three octaves)
or
D (three octaves)
E (three octaves)
Major tonal centre
The major scale
The major arpeggio
Minor tonal centre
The minor arpeggio
All arpeggios to be prepared with separate bows and slurred nine notes to a bow.
Chromatic scale starting on E (two octaves)

Chromatic scale starting on Db (two octaves)
To be prepared with separate bows and slurred six notes to a bow.
Diminished 7th starting on D (two octaves)

Diminished 7th starting on Db (two octaves)
73
Viola — Grade 7
Technical Exercises – double stops (from memory)

a) F major in thirds (one octave):
          
          
  etc.
b) G major in thirds (one octave):

          
           etc.
c) Eb major in sixths (one octave):
    
     
        etc.
d) G major in octaves (one octave):

   
       etc.

The candidate should perform the Berlioz extract [Group 1], together with one extract chosen from
Group 2.
Group 1:
Berlioz: Overture Roman Carnival [Andante sostenuto]
Group 2:
Mendelssohn: Ein sommernachtstraum [Scherzo–Allegro vivace]
Beethoven: Overture Coriolan [Allegro con brio]
Brahms: Symphony no. 3 [1st movt: Allegro con brio]


74
be unaccompanied.

Beethoven Seven Mozart Variations from The Magic Flute,
Theme and all Variations except variations 2 & 4 Peters EP 7049
Bloch Meditation (from Meditation and Processional) Schirmer
Brahms Sonata in Eb op. 120 no. 2, 1st movt: Allegro amabile Wiener Urtext or Henle HN 231
Britten Elegy for Solo Viola* Faber
Bruch Romance in F op. 85 Henle HN 785
Glazounov Elegie op. 44 Belaieff
Glinka Sonata in D minor, 2nd movt: Larghetto ma non troppo (Andante) Musica Rara MR 1034
Hindemith Trauermusik (Music of Mourning) [complete] Schott ED 2515
Kodály Adagio EMB Z.768
Maconchy Five Sketches, no. 1: Molto moderato and no. 2: Allegro deciso Chester CH55784
Rubenstein Sonata op. 49, 2nd movt: Andante Amadeus BP 2607
Schubert Sonata Movement D. 471 Stainer H194B
Svendsen Romance Hansen
Tchaikovsky Nocturne in D minor op. 19 no. 4 IMC 536
Vaughan
Williams Romance OUP
Villa Lobos Bachianas Brasilieras no. 5, Aria Schirmer
Group B
Arnold Concerto op. 108, Allegro con Spirito Faber
J S Bach Cello Suite no. 3 BWV 1009, Prélude* or Allemande*
or Cello Suite no. 2 BWV 1008, Prélude*
(from Six Suites for Solo Cello [Viola ed.]) Peters 7489
J S Bach Viola da gamba Sonata no. 1 BWV 1027, 1st movt: Adagio
and 2nd movt: Allegro ma non tanto
(from 3 Sonatas BWV 1027-1029) Bärenreiter BA 5186
R R Bennett Rondel* Novello NOV 120813
Bonporti Invention op. 10 no. 6, 1st movt: Lamentevole
and 2nd movt: Balletto (Allegro) (from Two Inventions) Kunzelmann GM 1195
Bridge Allegro appassionato (from Two Pieces for Viola & Piano) Stainer H171
Delius Sonata no. 3, 2nd movt: Andante scherzando Boosey
Franck Sonata in D, 4th movt: Allegretto poco mosso Viola World
Handel Concerto in B minor: Allegro moderato or Allegro molto Eschig
Ibert Le petit âne blanc Leduc
Jacob Variations for Solo Viola* [omitting variations 2, 6 & 7] Musica Rara MR 1898
Le Beau Drei Stücke op. 26, no. 3: Polonaise Wollenweber or Furore
Minsky Like Crazy* (from Three American Pieces) OUP
Pütz Blues for Benny Schott ED 8070
Rust Sonata in F, 1st movt: Allegro IMC 3338
Schmitt Concerto in C, 1st movt: Allegro moderato Amadeus BP 2525
Stamitz Concerto no. 1 in D, 1st movt: Allegro Henle HN 758

75
Viola — Grade 8


Grade 8. The examiner will choose any one of the specified bowings from previous grades and ask the


D (three octaves)
F# (three octaves)
or
Group 2: F (three octaves)
G (three octaves)
Eb (three octaves)
Major tonal centre

The major scale
The major arpeggio
Minor tonal centre

The minor arpeggio
All scales and arpeggios to be prepared with separate bows and slurred one bow ascending, one bow
descending and a separate bow for the last note.
The chromatic scales starting on each of the four notes of the chosen group (two octaves)
To be prepared in quavers with separate bows and slurred twelve notes to a bow.
The diminished 7ths starting on each of the four notes of the chosen group (two octaves)
To be prepared in quavers with separate bows and slurred eight notes to a bow.
76
Viola — Grade 8
Technical Exercises – double stops (from memory)

The following exercises to be performed:
a) F major in thirds (two octaves), follow Grade 7 example, but over two octaves.
b) G major in thirds (two octaves), follow Grade 7 example, but over two octaves.
c) C major in sixths (two octaves), follow Grade 7 example, but over two octaves.
d) C major in octaves (two octaves), follow Grade 7 example, but over two octaves.

The candidate should perform the Bartók extract [Group 1], together with two excerpts chosen from
Group 2:
Group 1:
Bartók: Divertimento for String Orchestra [2nd movt: Molto adagio]
Group 2:
Berlioz: Symphonie Fantastique [5th movt: Allegro]
(from Test Pieces for Orchestral Auditions, pages 12/13) Schott ED 7852
Prokofiev: Classical Symphony [4th movt: Molto vivace]
Bruckner: Symphony no. 3 [3rd movt: Trio]
Mahler: Symphony no. 1 [4th movt]
(from Test Pieces for Orchestral Auditions, pages 25/26
[from figure 6–figure 47]) Schott ED 7852


77
Cello — Initial Subject code: VCL

Anon. German Dance, no. 3 Violoncello Music for Beginners book 1 EMB Z. 6312
Blackwell Summer Sun, no. 26 Cello Time Joggers OUP
Bull, Goodborn
& Duckett Chanson no. 1, p. 33 Team Strings IMP/Faber
Carse Eventide The Fiddler’s Nursery for Cello & Piano Stainer H434
Colledge Goldfish Bowl, no. 3 Waggon Wheels for Cello Boosey
Colledge Waterfall, no. 10 Waggon Wheels for Cello Boosey
Colledge Clare’s Song, no. 23 Cello Time Joggers OUP
Evans Scale Play, no. 3 Cello Time Novello
Huws Jones Gone for Good Ten O’Clock Rock Boosey
Kershaw Lazy Daze Mellow Cello Fentone
Lumsden Hubble Bubble,
& Attwood Here Comes Trouble Witches’ Brew Peters EP 7677
Lumsden
& Attwood Trick, Treat or Tango Witches’ Brew Peters EP 7677
Nelson Over the Moon Piece by Piece book 1 Boosey
Nelson Lullaby, no. 12 Right from the Start Boosey
Nelson Ice Dance The Essential String Method, Cello book 2 Boosey
Norton Grizzly Bear, no. 5 The Microjazz Cello Collection 1 Boosey
Simson Halfway Down the Stairs Abracadabra Cello book 1 A & C Black
Trad. French Au Claire de la lune Classic and Folk Melodies in the 1st Position Presser
Trad. Twinkle Duet [top line] The Essential String Method, Cello book 2 Boosey
Trad. French Folk Song, p. 19 The Essential String Method, Cello book 2 Boosey
Group B
Anon. Sound For Us Stringsongs for Cello Boosey
Blackwell Runaway Train, no. 38 Cello time Joggers OUP
Bull, Goodborn
& Duckett Daydreams, no. 25 Team Strings Faber
Colledge Knickerbocker Glory Waggon Wheels for Cello Boosey
Colledge Bell-ringers Waggon Wheels for Cello Boosey
Huws Jones Ink-Spot Ten O’Clock Rock Boosey
Lovell & Page Hop-Scotch Four Strings and a Bow bk 1 Bosworth
Lumsden
& Attwood Stinkbomb Surprise Witches’ Brew Peters EP 7677
Nelson Chicken Feed Piece by Piece book 1 Boosey
Nelson Let’s Have a Holiday The Essential String Method, Cello book 2 Boosey
Trad. Who’s that Yonder? Team Strings Faber
Trad. Moravian Carol The Essential String Method, Cello book 2 Boosey
Trad. Baa, Baa, Black Sheep* 55 for Fun Fentone
Trad. Go Tell Aunt Rhody, no. 5 Suzuki Cello School vol. 1 Suzuki
Trad. Little Bird, no. 29 Abracadabra Cello book 1 A & C Black
Trad. Scottish The Queen’s Four Marys* The Celidh Collection for Cello Taigh na Teud
Wohlfart Polka Piece by Piece book 1 Boosey

78
Cello — Initial

All as given in Cello Scales, Arpeggios & Studies from 2007 published by Trinity Guildhall.

The following scales to be performed with the indicated rhythmic patterns on each note, as requested by
the examiner:
All examples start on the open string.
C major
  etc.
                 
G major
      
            etc.
D major
                 
etc.

Aural (see page 12)

79
Cello — Grade 1 Subject code: VCL

Bayley Long, Long Ago, no. 10 Suzuki Cello School. vol. 1 Suzuki
Carse A Little Reverie Two Short Pieces for Cello & Piano Stainer 2201
Carse Valsette Two Short Pieces for Cello & Piano Stainer 2201
Colledge At Harvest Time, no. 8 Fast Forward for Cello Boosey
Dvořák Largo from The
New World Symphony Superstart for Cello Faber
Evans String Along, no. 1 Cello Time Novello
Lully Air, no. 10 Violoncello Music for Beginners book 1 EMB Z. 6312
Mozart Lison Dormait, no. 3 Piece by Piece 2 Boosey
Nelson Mad as a Hatter Piece by Piece book 1 Boosey
Norton Hebridean Song The Microjazz Cello Collection 1 Boosey
Norton Pitlochry The Microjazz Cello Collection 1 Boosey
Rodgers Edelweiss, p. 50 Abracadabra Cello book 1 A & C Black
Sugár Old Hungarian Folk Song Violoncello Music for Beginners book 1 EMB Z. 6312
Trad. Drink to me Only Piece by Piece book 1 Boosey
Trad. I Have a Bonnet The Essential String Method, Cello book 3 Boosey
Trad. Pease Pudding Hot The Essential String Method, Cello book 3 Boosey
Trad. French Fais dodo Bravo! Cello Boosey
Trad. French L’etait une fille Classical Pieces for the beginning book 2 Schott
Trad. November Classic and Folk Melodies in the 1st Position Presser
Trowell Arietta, no. 1 Six Pieces for Violoncello in the 1st Position Schott
Group B
J S Bach Conversation Piece The Essential String Method, Cello book 3 Boosey
Blackwell Chase in the Dark Cello Time Runners OUP
Blackwell Gypsy Dance Cello Time Runners OUP
Carse A Lively Tune 3 Short Pieces Stainer
Carulli Signor Carulli’s Allegro The Essential String Method, Cello book 3 Boosey
Clark Minuet, no. 3 Old Music for Violoncello EMB Z. 2452
Cohen
& Spearing Turkey in the Straw Superstart for Cello Faber
Eccles Minuet, no. 5 Violoncello Music for Beginners book 1 EMB Z. 6312
Handel Gavotte [Top Line] Stringsongs for Cello Boosey
Huws Jones Toodle-Pip Ten O’Clock Rock Boosey
Legg The Swing, no. 5* Superstudies for Cello book 1 Faber
Macmillan March, no. 1 Northern Skies for Cello & Piano Boosey
Nelson Whirlpool Waltz Piece by Piece book 1 Boosey
Norton Snooker Table The Microjazz Cello Collection 1 Boosey
Trad. Scottish Davy Nick Nack* The Celidh Collection Taigh Na Teud
Trad. What Shall We do with the
Drunken Sailor? Up-Grade for Cello grades 1–2 Faber
Trad. The Four Posted Bed Stringsongs for Cello Boosey
80
Cello — Grade 1

All as given in Cello Scales, Arpeggios & Studies from 2007 published by Trinity Guildhall.

one down bow and one up bow. [d = 72]

moment’s pause), the arpeggio.
G minor (to the 5th) [scale only]
Scales to be prepared with separate bows and slurred in pairs.

d = 92
           
   
or ii) Studies
1. Marching On!
2. Procession
3. Gliding in a Clear Blue Sky
All studies are contained in the book Cello Scales, Arpeggios & Studies from 2007.

Aural (see page 12)
81

Bart As Long As He Needs Me Play Showtime Faber
Blackwell Starry Night, no. 18 Cello Time Runners OUP
Blake Archangel’s Lullaby First Repertoire for Cello book 1 Faber
Carse Sweet Sorrow Fiddle Fancies for Cello & Piano Stainer H437
Colledge Mellow Cello, no. 12 Fast Forward for Cello Boosey
Colledge The Old Oak Tree Shooting Stars for Cello Boosey
Dare Serenade Serenade for Cello & Piano Schott 10738
Handel Chaconne Easy Classics for Cello book 1 OUP
Mancini
& Mercer Moon River Short Cello Pieces Bosworth
Nelson Reel [top part] Technitunes for Cello Boosey
Schumann A Distant Land Easy Classics for cello book 1 OUP
Spohr Romanza, no. 8 Classical Pieces for the Beginning book 1 Schott ED 4918
Stoker Air 14 Easy Tunes for Cello Fentone F829
Tchaikovsky An Old French Song Easy Classics for Cello book 1 OUP
Trad. All Through the Night The Essential String Method, Cello book 4 Boosey
Trad. Jenny Jones The Essential String Method, Cello book 4 Boosey
Trad. Scarborough Fair First Repertoire for Cello book 1 Faber
Trad. Scottish Loch Lomond, no. 13 Piece by Piece 2 Boosey
Williams Schindler’s List Short Cello Pieces Bosworth
Group B
Aubert Forlane Classical Pieces for the beginning book 2 Schott
Blackwell Carnival Jig, no. 1 Cello Time Sprinters OUP
Carse A Merry Dance Stainer
Charpentier Prelude from Te Deum Cello Time Runners OUP
Colledge The Ceilidh, no. 21 Fast Forward for Cello Boosey
Goddard Swingin’ Party Pieces for Cello & Piano Spartan SP139
Handel Chorus from
Judas Maccabeus Suzuki cello School vol. 2 Suzuki
Holst Jupiter’s Theme 14 Easy Tunes for Cello Fentone F829
Howard Oliver’s Hornpipe The Essential String Method, Cello book 4 Boosey
Legg Rumba, no. 8* Superstudies for Cello book 1 Faber
Lumsden
& Wedgwood Jurassic Blue Jurassic Blue Faber
Mozart German Dance, no. 14 Violoncello Music for Beginners book 1 EMB Z. 6312
Nelson Toad in the Hole [Top part] Technitunes for Cello Boosey
Prelleur March in D Piece by Piece book 1 Boosey
Purcell March Classical Pieces for the beginning book 2 Schott
Schubert Two German Dances The Essential String Method, cello book 4 Boosey
Trad. Scottish Aiken Drum* The Celidh Collection for Cello Taigh Na Teud
Trad. Old Joe Clark O Shenandoah! Faber
Trad. The Parson’s Farewell Jigs, Reels and More Boosey
82
Cello — Grade 2

As given in Cello Scales, Arpeggios & Studies from 2007 published by Trinity Guildhall.

The exercise may end with an additional long note on the tonic. [d D d ] [d = 80]

G minor (one octave)
Minor scale to be prepared in natural or harmonic or melodic form, at candidate’s choice.

Double Stops [fifths and sixths]:
The following exercise to be performed in the pattern shown, starting on G, D and C strings:
d = 75–100
        
   
or ii) Studies
1. Waltz
2. Morris Dance
3. Barcarolle
All studies are contained in the book Cello Scales, Arpeggios & Studies from 2007 published by Trinity
Guildhall.
83
Cello — Grade 2

Aural (see page 12)

84
unaccompanied.

Beethoven Marmotte Playing the Cello Novello
Blackwell Falling Leaves
or Beyond the Horizon Cello Time Sprinters OUP
Colledge Winter Wind Shooting Stars for Cello Boosey
Dacre Daisy Bell First Repertoire for Cello book 1 Faber
Dyson Melody Melody & Intermezzo Stainer H38
Elgar Andante Cello Time Sprinters OUP
Foster Beautiful Dreamer 14 Easy Tunes for Cello Fentone F829
Hoffman Andante Classical Pieces for the beginning book 2 Schott
Mozart Romance Classical and Romantic Pieces for Cello OUP
Offenbach Barcarolle from
The Tales of Hoffmann The Classic Experience for Cello & Piano Cramer 90537
Rebikov Chanson Triste Classical and Romantic Pieces for Cello OUP
Rota & Kusik Speak Softly Love (Theme
from The Godfather) Short Cello Pieces Bosworth
Schubert To Music Cello Canto Fentone
Schumann Cradle Song, no. 31 Violoncello Music for Beginners book 3 EMB Z. 14037
Tchaikovsky Dolly’s Funeral, no. 36 Violoncello Music for Beginners book 3 EMB Z. 14037
Trad. Simple Gifts O Shenandoah! Faber
Trad. Irish Danny Boy Jigs, Reels and More Boosey
Group B
Beethoven Ecossaise 14 Easy Tunes for Cello Fentone F829
Blackwell Overture:
A Baroque Celebration Cello Time Sprinters OUP
Carse A Bumpkin’s Dance The Fiddler’s Nursery for Cello & Piano Stainer H434
Colledge Stiffkey Blues Shooting Stars for Cello Boosey
Dawe Kangaroos New Road to String Playing book 3 Cramer
Galliard Hornpipe a L’Inglese First Repertoire for Cello book 2 Faber
Gay The Lambeth Walk Play Showtime Faber
Hewitt-Jones Rumba Ragtime, Serenade & Rumba Musicland
Purcell Rondeau Classical and Romantic Pieces for Cello OUP
Stanley Allegretto Grazioso First Repertoire for Cello book 1 Faber
Thomas Bouree A Little Suite Banks
Trad. The Keel Row Jigs, Reels and More Boosey
Trad. The Trumpet Hornpipe Jigs, Reels and More Boosey
Trad. Tambourin Classical Pieces for the beginning book 2 Schott
Trad. Scottish Dancing in Kyle* The Celidh Collection Taigh Na Teud
Vivaldi Autumn The Essential String Method, Cello book 4 Boosey
Wedgwood Hungarian Stomp Jazzin’ About for Cello & Piano Faber
85
Cello — Grade 3


The candidate will be asked to play one scale of their own choice from any of those listed below for Grade 3.
The scale should be played with the rhythm         on each degree of the scale. The exercise may
end with an additional long note on the tonic. [d = 60]

D major (two octaves)
F major (two octaves)
Eb major [starting on the C String] (one octave)
D minor (two octaves)
Minor scale to be played in either melodic or harmonic form, at candidate’s choice.
All scales to be prepared with separate bows and slurred in pairs.
All arpeggios to be prepared with separate bows and slurred three notes to a bow.
Dominant 7th in the key of C (one octave, starting on open G)

Dominant 7th in the key of G (one octave, starting on 1st finger D on the C string)
To be prepared with separate bows and slurred two notes to a bow.

a) Chromatic Phrase:
The following exercise to be performed with separate bows:
          
b) Double Stops [fifths, sixths and octaves]:

The following exercise to be performed in the pattern shown starting on the open G, D and C strings:
       
           
86
Cello — Grade 3
or ii) Studies
1. Andantino
2. Minuetto
3. Tango
Guildhall.

Aural (see page 12)

87
unaccompanied.

Blackwell Some Day, no. 26 Cello Time Sprinters OUP
Bridge Meditation Stainer
Carse Waltz Steps Fiddle Fancies for Cello & Piano Stainer H437
Franck Panis Angelicus Up-Grade for Cello Grades 3–4 Faber
Handel Largo (from Xerxes) Schott
Le Fleming Air Air & Dance Chester
Lehár Waltz — Love Unspoken Play Showtime Faber
Loewe I Could Have Danced All Night Play Showtime Faber
Lovell Summer Song, no. 3 Three Summer Sketches Braydeston Press
Mozart From the Flute Quartet Playing the Cello Novello
Purcell Dido’s Farewell, no. 3 Violoncello Music for Beginners book 3 EMB Z. 14037
Squire Romance for Cello & Piano Stainer 2284
Tchaikovsky Sweet Reverie, no. 40 Violoncello Music for Beginners book 3 EMB Z. 14037
Trad. Blow the Wind Southerly Three Northumbrian Folk Songs S J Music D1995-1
Trowell Arioso op. 4 no. 7 12 morceaux faciles op. 4 book 3 Schott ED 11212
Wedgwood Dawn Shadows Up-Grade for Cello Grades 3–4 Faber
Widger A Minor Waltz Easy Jazz Cello Spartan SP279
Williams Hedwig’s Theme Harry Potter & the Chamber of Secrets Faber
Group B
J S Bach Polacca Classical and Romantic Pieces for Cello OUP
Blackwell Wild West Cello Time Sprinters OUP
Blackwell Latin Nights Cello Time Sprinters OUP
Bock If I Were a Rich Man Play Showtime Faber
Cohen Village Bagpipes, no. 7* Technique Takes Off! for Cello Faber
Gershwin Let’s Call the Whole Thing Off Play Gershwin for Cello & Piano Faber
Grieg Norwegian Dance Classical and Romantic Pieces for Cello OUP
Handel Bouree Suzuki Cello School vol. 2 Suzuki
Haydn Allegro Lost Melodies — Old Masterpieces for Cello UE 10627
Joplin The Entertainer 14 Easy Tunes for Cello Fentone F829
Lovell The Train, no. 2 Three Summer Sketches Braydeston Press
Marais Gavotte en Rondeau, no. 86 Playing the Cello Novello
Rameau Le Tambourin, no. 6 Violoncello Music for Beginners book 3 EMB Z. 14037
Schubert The Trout, no. 29 Violoncello Music for Beginners book 3 EMB Z. 14037
Trad. Scottish Phil the Fluter’s Ball* The Celidh Collection Taigh Na Teud
Wedgwood Ho Down — Show Down Jazzin’ About for Cello & Piano Faber
Widger Syncopation Celebration Easy Jazz Cello Spartan SP279
Williams Raider’s March Short Cello Pieces Bosworth
88
Cello — Grade 4



moment’s pause), the arpeggio; each scale/arpeggio pair to be prepared with separate bows or slurred
as requested by the examiner.
Bb major (two octaves)
Eb major (two octaves)
C minor (two octaves)
G minor (two octaves)
Minor scales to be prepared in either melodic or harmonic form, at candidate’s choice.
All scales to be prepared with separate bows and slurred four notes to a bow.
Dominant 7th in the key of F (two octaves, starting on open C)

Dominant 7th in the key of G (two octaves, starting on 1st finger D on the C string)
Dominant 7th in the key of Eb (one octave, starting on Bb)
To be prepared with separate bows and slurred in pairs.
Chromatic scale starting on open G (one octave)


The following exercise to be performed in the pattern shown, starting on the open G, D and C strings:
Double Stops [octaves and sixths]:
q = c. 100
             
      
89
Cello — Grade 4
or ii) Studies
1. Elegy
2. Shanty
3. Polonaise
Guildhall.

Aural (see page 12)

90
be unaccompanied.

Beethoven Sonatina in D minor
after WoO 43 Peters EP 4221
Bridge Cradle Song Four Pieces for Cello & Piano Faber
Chopin Prelude in B minor
op. 28 no. 6 Chopin for Cello & Piano 1 PWM 10 382
Fauré Aurore Two Songs from 20 Mélodies S J Music D1996-8
Flotow M’appari (Like a Dream) Cello Canto Fentone
Gershwin Summertime Play Gershwin for Cello & Piano Faber
Handel Arie, no. 9 Melodies by Old Masters
for Young Cellists book 2 Schott ED 5533
Lloyd Webber Memory Play Showtime Faber
Macmillan Northern Skies, no. 7 Northern Skies for Cello & Piano Boosey
Mooney The Irish Tenor* Position Pieces book 1 Summy Birchard
Mozart Ave verum corpus, no. 17 Violoncello Music for Beginners book 3 EMB Z. 14037
Pergolesi Nina, no. 11 Violoncello Music for Beginners book 3 EMB Z. 14037
Schumann Traumerei op. 15 no. 7 Schott
Shostakovich Romance from the Suite
‘The Gadfly’ S J Music D1990-5
Tchaikovsky Chanson Triste op. 40 no. 2 Learning the Tenor Clef Faber
Trowell Meditation op. 4 no. 9 12 morceaux façiles op. 4 book 3 Schott ED 11212
Vivaldi Largo from Sonata no. 3 First Repertoire for Cello book 3 Faber
Williams Fawkes The Phoenix Harry Potter & the Chamber of Secrets IMP/Faber
Group B
Boccherini Minuet The Suzuki Cello School vol. 3 Suzuki
Bridge Spring Song for Cello & Piano Stainer 2196
De Fesch Sonata in C, Alla breve Schott CB88
Dyson Intermezzo Melody & Intermezzo Stainer H38
Gabriel-Marie La Cinquantaine Cello Solos Amsco AM 40205
Gershwin I Got Rhythm Play Gershwin for Cello & Piano Faber
Hindemith Lebhaft 3 Easy Pieces Schott ED2771
Hummel Presto Little Suite op. 19a Schauer EE2954
Le Fleming Dance Air & Dance Chester
Macmillan Sabre Dance, no. 6 Northern Skies for Cello & Piano Boosey
Marcello Sonata no. 6 in G,
4th movt: Allegro Peters 7394
Philidor La Sauterelle (Rondeau) Lost Melodies — Old Masterpieces for Cello UE 10627
Schenk Gigue Lost Melodies — Old Masterpieces for Cello UE 10627
Squire Minuet for Cello & Piano Stainer 2286
Strauss I Radetsky March The Classic Experience for Cello & Piano Cramer 90537
Tchaikovsky Neapolitan Dance Tune Violoncello Music for Beginners book 3 EMB Z. 14037
Trad. Lovely Joan*[Top line] Thumb Position for Beginners Faber
Wedgwood Rock-a-bow Baby Jazzin’ About for Cello & Piano Faber

91
Cello — Grade 5



C major (three octaves)
Ab major (two octaves)
Minor scales to be prepared in either harmonic or melodic form, at candidate’s choice.
D major scale (one octave, in thumb position starting on the D string)

To be prepared with separate bows and slurred three notes to a bow.
Dominant 7th in the key of F (two octaves, starting on C)

Dominant 7th in the key of G (two octaves, starting on D)
To be prepared with a down and an up bow on each note.
Chromatic scale starting on C (two octaves)
Chromatic scale starting on D (two octaves)
Diminished 7th starting on A, 1st finger on the G string (one octave)

To be prepared with separate bows only

Double stops: [octaves, sixths and thirds]
The following exercise to be performed in the pattern shown, starting on the open G, D and C strings:
q = 112
          
     
92
Cello — Grade 5
or ii) Studies
1. Jig
2. Arioso
3. Habañera
Guildhall.

Aural (see page 12)

93
companied.

Bloch Supplication, no. 2 from Jewish Life (from Ernest Bloch Music for Cello & Piano) Fischer
Bunting Elegy Sangeeta
Cui Orientale op. 50 no. 9 Simrock EE 3479
Elgar Chanson de matin (from Learning the Tenor Clef) Faber
Handel Arioso Schott 9610
Kreisler Liebesleid (from Liebesleid & Liebesfreud) Schott CB 161
W Lloyd
Webber In the Half-Light (from Three Pieces for Cello & Piano) Stainer H376
Massenet Melodie op. 10, no. 5 (from Salon — Pieces for Cello & Piano) Kunzelmann GM 1603a
Mendelssohn Song without Words (from The Great Cello Solos [ed. Lloyd Webber]) Chester
Paradis Sicilienne (from Learning the Tenor Clef) Faber
Popper To the Memory of my Parents op. 64 no. 1
(from Popular Concert Pieces vol. 1) EMB Z. 12943
Rachmaninov Lied (from Steven Isserlis’s Cello World) Faber
Saint-Saëns Prière op. 158 or Romance op. 36
(from The Complete Shorter Works for Cello & Piano) Faber
Seiber Tango (from Learning the Tenor Clef) Faber
Sibelius Romance op. 78 no. 2 Hansen
Tenaglia Aria (from Classical Pieces of the 17th & 18th Century) Schott ED 3678
Vaughan
Williams Fantasia on Greensleeves OUP
Group B
Albéniz Tango (from Dancing Cello) PWM 10 324
Albrechtsberger Scherzando (from Lost Melodies — Old Masterpieces for Cello) Universal UE 10627
Blake Cha-cha, no. 8 (from Jazz Dances for ‘Cello & Piano) Highbridge Music 520
Davidoff Romance Sans Paroles (from Salon — Pieces for Cello & Piano) Kunzelmann GM 1603 a
de Caix Sarabande, no. 4a and Menuet, no. 4b
d’Hervelois (from Melodies by Old Masters book 2) Schott ED 5533
Glazunov Sérénade espagnole op. 20 no. 2 Belaieff 204
J S Bach Suite no. 1 in G BWV 1007, Allemande* or Menuets 1 and 2*
(from Six Solo Cello Suites BWV 1007–1012) Bärenreiter BA 320
Maconchy The Clock, no. 3 (from Divertimento) Lengnick
Marais L’agréable (from Five Old French Dances) Chester
Minsky Broadway, no. 3* (from Ten American Cello Etudes) OUP
Rachmaninov Symphony no. 2, Theme from 3rd movt Boosey
Schubert Moment Musical (from Cello Solos) Amsco AM 40205
Schumann Fantasiestücke op. 73, no. 1: Zart und mit Ausdruck Peters EP 7279
Squire Danse Rustique Stainer
Telemann Viola da gamba Sonata in A minor, 1st movt: Largo and 2nd movt: Allegro Peters EP 4625
Trad. The Keel Row, no. 3 (from Three Northumbrian Folk Songs) S J Music D1995-1
Valensin Menuet, (from Melodies by Old Masters book 2) Schott ED 5533
Vivaldi Sonata no. 5 in E minor RV 40, 3rd movt: Largo
and 4th movt: Allegro (from Complete Sonatas for Cello) Bärenreiter BA 6995
94
Cello — Grade 6



groups of tonal centres, to be prepared with separate bows or slurred as requested by the examiner. The

B (two octaves)
Eb (two octaves)
or
F (two octaves)
G#/Ab (two octaves)
Major tonal centre

The major scale
The major arpeggio
The dominant 7th starting on that note and resolving onto the tonic (two octaves)
Minor tonal centre

The minor arpeggio
Candidates should also prepare:

D major scale in thumb position (one octave, starting on the D string)
Chromatic scale starting on C# (two octaves)

Chromatic scale starting on Eb (two octaves)
95
Cello — Grade 6
Diminished 7th starting on C (two octaves)

Diminished 7th starting on E (two octaves)

Double stops [in sixths in C major]
q = 100
               
             

Group 1:
Beethoven: Symphony no. 5 [2nd movt: Andante con moto]
(from Test Pieces for Orchestral Auditions, page 8 – first four lines only) Schott ED 7853
Tchaikovsky: Symphony no. 6 [2nd movt: Allegro con grazia]
(from Test Pieces for Orchestral Auditions, page 30 Schott ED 7853
Group 2:
Bizet: Carmen [Finale]
Brahms: Symphony no. 2 [1st movt: Allegro non troppo]

i) Sight Reading (see page 20);

96
unaccompanied.

J S Bach Arioso (from The Great Cello Solos [ed. Lloyd Webber]) Chester
J S Bach Suite no. 2 in D minor BWV 1008, 4th movt: Sarabande*
J C Bach Concerto in C minor, 2nd movt: Adagio molto espressivo Salabert EMS 5457c
Bizet Habanera (from Dancing Cello) PWM 10 324
Bridge Serenade (from Four Pieces for Cello & Piano) Faber
Cassadó Sérénade Universal UE 8131
Clarke I’ll Bid My Heart Be Still (from Shorter Pieces for Cello & Piano) OUP
Fauré Sicilienne op. 78 (from Anthology of Selected Pieces for Cello & Piano) Peters 7571
Fauré Sylvie (from Fauré 4 Mélodies) Bärenreiter BA 6990
Granados Orientale (Spanish Dance no. 2 op. 37) IMC 655
Grieg Sarabande from the Holberg Suite Fentone
Kurpinski Meditation at Wanda’s Tomb PWM
Rachmaninov Vocalise op. 34 no. 14 Boosey
Ravel Pièce en forme de Habanera Leduc
Rubenstein Melodie op. 3 no. 1 (from Saluts d’amour for Cello & Piano) Kunzelmann GM523
Saint-Saëns Le cygne (The Swan) (from The Complete Shorter works for Cello & Piano) Faber
Schumann Intermezzo (from Steven Isserlis’s Cello World) Faber
Tchaikovsky Nocturne op. 19 no. 4 (from Tchaikovsky for cello vol. 2) Simrock EE5243
Group B
Arutiunian Impromptu Zen-on Music
J S Bach Suite no. 2 in D minor BWV 1008, Gigue*
Beethoven Sonata no. 2 in G minor op. 5 no. 2, 2nd movt: Allegro molto più tosto presto
(from Sonatas for Cello & Piano) Henle HN 252
Blake Jump, no. 3 (from Jazz Dances for ‘Cello & Piano) Highbridge Music 520
Boccherini Sonata in C, 1st movt: Allegro Ricordi
Daquin Rigaudon (from Melodies by Old Masters book 2 ) Schott ED 5533
Eccles Sonata in G minor, 1st movt: Preludium and 2nd movt: Courante PWM 2790
Enescu Saltarello (from Nocturne et Saltarello) Schott CB 168
Kabalevsky Study no. 5, Scherzo* (from Five Studies in major and minor op. 67) Peters EP 4765
Klengel Concertino in C op. 7, 1st movt: Allegro Breitkopf EB 2938
Lennon &
McCartney When I’m Sixty-Four** (from Encore! Lloyd Webber) Chester CH63965
Maconchy Golubchik, no. 2 (from Divertimento) Lengnick
Martini Gavotte des moutons (from Classical Pieces of the 17th & 18th Century) Schott ED 3678
Minsky Sailing Down the River* (from Ten American Cello Etudes) OUP
Popper Gavotte op. 67 no. 2 (from Popular Concert Pieces vol. 1) EMB Z. 12943
Saint-Saëns Gavotte op. posth. (from The Complete Shorter works for Cello & Piano) Faber
Squire Tarantella Stainer
Vivaldi Sonata no. 6 in Bb RV 46, 3rd movt: Largo and 4th movt: Allegro
(from Complete Sonatas for Cello) Bärenreiter BA 6995
** This piece must be played with the piano accompaniment which is available separately. The use of
CD accompaniment is not acceptable. 97
Cello — Grade 7


Grade 7. The whole scale should be played with hooked bowing, as in the following example:
q = 88
       
        
 etc.

Group 1: F (three octaves)

G (three octaves)
or
E (three octaves)
F# (three octaves)
Major tonal centre

The major scale
The major arpeggio
Minor tonal centre

The minor arpeggio
Diminished 7th starting on F (two octaves)

Diminished 7th starting on F# (two octaves)
98
Cello — Grade 7
The following to be prepared with the scale and arpeggio in succession:

D major in thumb position (one octave)
D melodic minor in thumb position (one octave)
D harmonic minor in thumb position (one octave)
Scales to be prepared with separate bows and slurred four notes to the bow.
Arpeggios to be prepared with separate bows and slurred three notes to the bow.

Chromatic scale starting on Db (two octaves)
All to be prepared with separate bows and slurred six notes to a bow.

Double Stops
a) C major in sixths (one octave, in the following pattern):
q = 120
                
        
   
etc. etc.
b) Bb major in thirds (one octave):

q = 120
                   
       
   
                   

Group 1:
Brahms: Symphony no. 2 [2nd movt: Adagio non troppo]
Tchaikovsky: Symphony no. 4 [2nd movt: Andantino in modo di canzona]
Group 2:
Beethoven: Symphony no. 8 [3rd movt: Tempo di menuetto]
Beethoven: Symphony no. 9 [Allegro assai]
(from Test Pieces for Orchestral Auditions, pages 10/11, bar 92 to end of extract) Schott ED 7853

ii) Sight Reading (see page 20);
99
unaccompanied.
Bloch Prayer, no. 1 from Jewish Life (from Ernest Bloch Music for Cello & Piano) Fischer
Bridge Élégie (from Four Pieces for Cello & Piano) Faber
Busoni Serenata for Cello & Piano Faber
Chopin Study in E major op. 10 no. 3 [Transc. in D] (from Chopin for Cello & Piano 1) PWM 10 382
Dvořák Silent Woods ‘Klid’ op. 68 no. 5 IMC 1741
Elgar Cello Concerto in E minor, 3rd movt Novello
Fauré Élégie op. 24 (from Anthology of Selected Pieces for Cello & Piano) Peters 7571
Gershwin Bess, You is My Woman Now (from Encore! Lloyd Webber)** Chester CH63965
Grieg Sonata in A minor op. 36, 2nd movt: Andante molto tranquillo
(from Sonata in A minor op. 36 & Other Works) Henle HN 790
Haydn Concerto in D Hob VIIb no. 2, 2nd movt: Adagio Breitkopf EB 2238
Hubicki Lonely Mere (from Lonely Mere & Rigaudon) Braydeston Press
Kodály Romance lyrique EMB Z. 14 333
Muffat/Cassadó Arioso Universal UE 8285
Nyman Miserere Paraphrase (from On the Fiddle) Chester
Rachmaninov Sonata in G minor op. 19, 3rd movt: Andante Boosey
Szymanowski Song Of Roxana from King Roger PWM
Tchaikovsky Melodie op. 42 no. 3 (from Tchaikovsky for Cello vol. 1) Simrock EE5239
Group B
J C Bach Concerto in C minor, 1st movt Salabert
J S Bach Suite no. 3 in C BWV 1009, 1st movt: Prelude*
Bartók Romanian Folk Dances no. 1, no. 2, no. 5 and no. 6
(from Romanian Folk Dances) Universal UE 13265
Beethoven Sonata no. 4 in C op. 102 no. 1, 1st movt: Andante–Allegro vivace
(from Sonatas for Cello & Piano) Henle HN 252
Boccherini Rondo Leduc
Boulanger Three Pieces, no. 3 in C# minor Heugel HE 26535
Brahms Sonata in E minor, 2nd movt: Allegretto quasi menuetto Henle HN18
Britten Suite no. 1 in G, Serenata & Marcia* Faber
Dunkler La fileuse PWM 9230
Dvořák Slavonic Dance in G minor op. 46/8
(from Slavonic Dances for Cello & Piano op. 46/3, 46/8) Bärenreiter BA 6962
De Falla Ritual Fire Dance Chester CH00933
Lalo Concerto in D minor, 2nd movt: Intermezzo Peters 3799
Léonard The Donkey and the Driver (from Steven Isserlis’s Cello World) Faber
Minsky Truckin’ Through the South* (from Ten American Cello Etudes) OUP
Monti Czardas (from Dancing Cello) PWM 10 324
Saint-Saëns Allegro appassionato op. 43 (from The Complete Shorter works for Cello & Piano) Faber
Sammartini Sonata in G, 1st movt IMC 2093
Shostakovich Sonata op. 40, 2nd movt: Allegro Peters EP 4748
** This piece must be played with the piano accompaniment which is available separately. The use of
CD accompaniment is not acceptable.
100
Cello — Grade 8


Grade 8. The examiner will choose any one of the specified bowings from Grade 5, 6, or 7 and ask the


F# (three octaves)
Bb (three octaves)
or
Bb (three octaves)
Eb (three octaves)
Major tonal centre

The major scale
The major arpeggio
Minor tonal centre

The minor arpeggio
The chromatic scales starting on each of the four notes of the chosen group (two octaves)
To be prepared with separate bows and slurred twelve notes to a bow.
The diminished 7ths starting on each of the four notes of the chosen group (two octaves)
101
Cello — Grade 8

Double Stops:
a) Eb major in thirds (one octave):
q = 120
  
          etc.
b) C major in sixths (one octave):

q = 120
         
        
   etc.
c) G major in octaves (one octave):

q = 120
      
    etc.

Group 1:
Verdi: Missa da Requiem [No.3 Offertorium – Andante mosso]
Beethoven: Ballet Music Prometheus [Adagio and Andante quasi allegretto]
Group 2:
Smetana: The Bartered Bride [Overture – Vivacissimo] [h = 96]
(from Test Pieces for Orchestral Auditions, pages 20/21 from the beginning to letter C;
and page 22, bar 261 to end of extract) Schott ED 7853
Beethoven: Overture Coriolan [Allegro con brio] [h = 66]
Wagner: Overture Tannhäuser [Allegro] [h = 60]

i) Sight Reading (see page 20);

102
Notes
Double Bass — Initial Subject code: DB
their own composition (see page 11 ). One piece may be unaccompanied.

Allen et al Ice Skating, no. 165 Essential Elements 2000 Hal Leonard
Bull et al Chanson no. 1, p. 33 Team Strings Faber
Elliott Swan Song The Essential String Method, Double Bass bk 2 Boosey
Elliott Seesaw The Essential String Method, Double Bass bk 2 Boosey
Elliott Dancing Partners The Essential String Method, Double Bass bk 2 Boosey
Elliott The Dinosaurs come to Town Ready Steady Go BMP 502
Evans Peace for Two Basic Bass Paxton
Nelson Don’t Bother me Right from the Start for Double Bass & Piano Boosey
Nelson Lullaby Right from the Start for Double Bass & Piano Boosey
Nelson Rainy Day Right from the Start for Double Bass & Piano Boosey
Rhoda China Sea, no. 76 The ABC’s of Bass book 1 Fischer
Trad. Twinkle, Twinkle The Essential String Method, Double Bass book 2 Boosey
Trad. Au clair de la lune, no. 23 Abracadabra Double Bass book 1 A & C Black
Trad. Miss Mary Mac, no. 25 Abracadabra Double Bass book 1 A & C Black
Trad. Stomping Song, no. 46 Ready Steady Go BMP502
Group B
Allen et al Grandparent’s Day, no. 80 Essential Elements 2000 Hal Leonard
Anon. Jolly Old Saint Nicholas Do It! Play Bass book 1 GIA Publications Inc.
Beethoven Ode to Joy, no. 39 Abracadabra Double Bass book 1 A & C Black
Emery
& LeFanu Climbing Higher Now Bass is Best! book 1 Yorke YE0090
Nelson Let’s Have a Holiday The Essential String Method, Double Bass book 2 Boosey
Osborne Russian Circus, no. 6 The Really Easy Bass Book Faber
Osborne A Trunk Call, no. 2* A Jungle Jamboree Recital RM316
Pierpoint Jingle Bells, no. 17 The ABC’s of Bass book 1 Fischer
Rhoda Skipping and Walking Fingers The ABC’s of Bass book 1 Fischer
Trad. Michael Row the Boat Ashore Essential Elements 2000 Hal Leonard
Trad. Round go the Mill Wheels Team Strings Faber
Trad. Who’s That Yonder Team Strings Faber
Trad. Lavender’s Blue, no. 46 Bass is Best! book 1 Yorke YE0090
Trad. London’s Burning, no. 52 Abracadabra Double Bass book 1 A & C Black
Trad. Down by the Station, no. 27 Ready Steady Go BMP 502
Trad. The Jolly Miller, no. 29 Ready Steady Go BMP 502
Trad. Shepherd’s Hey Theme Do It! Play Bass book 1 GIA Publications Inc
Trad. Moravian Carol The Essential String Method, Double Bass bk 2 Boosey
104
Double Bass — Initial

As given in Double Bass Scales, Arpeggios & Studies from 2007 published by Trinity Guildhall.

The following scales to be performed with the indicated rhythmic patterns on each note, as requested by
the examiner:
D major (to 6th)
A major (to 6th)
All examples start on the open string.
D major
                        
                    etc.
A major
              
   
              etc.
Arpeggio Phrases
D major triad with added 6th
A major triad with added 6th
All to be played with separate bows as follows:
D major
                          
                   
A major
          
     

Aural (see page 12)

105
Double Bass — Grade 1 Subject code: DB

Elliott Carnival Waltz The Essential String Method, Double Bass bk 3 Boosey
Elliott Snakes and Ladders The Essential String Method, Double Bass bk 3 Boosey
Haydn Papa Haydn Goes Walking
& any two other variations Ready Steady Go BMP 502
Lamb A Sad Sarabande, no. 3 A Small Suite Recital RM358
Lehar Waltz, no. 63 Abracadabra Double Bass bk 1 A & C Black
Norton Grizzly Bear, no. 1 Microjazz for Double Bass Boosey
Saint-Säens A Baby Elephant, no. 68 Ready Steady Go BMP BMP502
Trad. When the Saints go
Marching in Bass for Beginners Recital RM013
Trad. Pease Pudding Hot The Essential String Method, Double Bass bk 3 Boosey
Trad. Hatikvah The Essential String Method, Double Bass bk 3 Boosey
Trad. Michael Finnegan The Essential String Method, Double Bass bk 3 Boosey
Trad. Muck!, no. 62 Abracadabra Double Bass book 1 A & C Black
Trad. Long, Long Ago, no. 48 Ready Steady Go BMP 502
Trad. Mattachins, no. 44 Ready Steady Go BMP 502
Trad. Blow the Man Down, no. 15 Bass for Beginners Recital RM013
Trad. Drink to Me Only, no. 8* Double Bass Solo 1 OUP
Trad. In My Little Snuff Box Bass is Best! book 1 Yorke YE0090
Trad. Go Tell Aunt Rhody, no. 52 Bass is Best! book 1 Yorke YE0090
Group B
J S Bach Conversation Piece The Essential String Method, Double Bass bk 3 Boosey
Emery &
Leach Knocking on the Door Bass is Best! book 1 Yorke YE0090
King et al Stand by Me, no. 56 Abracadabra Double Bass book 1 A & C Black
Leogrande Down the Road, no. 1 8 Progressive Solos for the Beginning Bassist Latham BA-1
Mozart Minuet Team Strings Faber
Nelson Fiddler’s Fancy, no. 19 Right from the Start for Double Bass & Piano Boosey
Osborne Bass Bridges of Paris, no. 14
or The Clumsy Spy, no. 10 The Really Easy Bass Book Faber
Osborne Samba, no. 19 The Really Easy Bass Book Faber
Osborne Jellied Eels Foo-Yong, no. 16 The Really Easy Bass Book Faber
Osborne Gipsy Dance The Double Bass Sings Piper
Purcell Rigaudon, no. 7 La Contrebasse Classique vol. A Combre
Swann The Hippopotamus Song Abracadabra Double Bass book 1 A & C Black
Trad. John Grumlie The Essential String Method, Double Bass bk 3 Boosey
Trad. I Have a Bonnet The Essential String Method, Double Bass bk 3 Boosey
Trad. Bransle de Bourgogne Pour les jeunes contrebassistes vol. 2 Billaudot
Trad. Shaker Song, no. 29 Bass for Beginners Recital RM013

106
Double Bass — Grade 1


The candidate will be asked to play from memory the scale of G major (one octave). The scale should be
played with two separate crotchets on each degree of the scale, one down bow and one up bow. [q = 72]
either i) Scales & Arpeggio Phrases (from memory)

moment’s pause), the arpeggio phrase in the same key.
The following scales and arpeggio phrases to be prepared:
Scales
A major (to 6th)
C major (to 6th)
D major (to 6th)
A minor (to 6th)
D minor (to 6th)
All to be prepared with separate bows and slurred in pairs.
Arpeggios Phrases
D major triad with added 6th
A major triad with added 6th
C major triad with added 6th
All to be prepared with separate bows only.
or ii) Studies
1. March On!
2. Shopping Trip
3. Flowing Bowing
All studies are contained in the book Double Bass Scales, Arpeggios & Studies from 2007 published by
Trinity Guildhall.

Aural (see page 12)

107

Arlen We’re off to see the Wizard Abracadabra Double Bass book 1 A & C Black
Lamb Allemande Ancien, no. 4 A Small Suite Recital RM358
Martin Pimprenelle Billaudot
Norton Mean Streets, no. 10 Microjazz for Double Bass Boosey
Osborne The Duke of York Joins
the Navy The Really Easy Bass Book Faber
Osborne Alpen Song The Really Easy Bass Book Faber
Rodgers Edelweiss, no. 50 Abracadabra Double Bass book 1 A & C Black
Roe Reflections Play-a-Day Thames
Saint-Säens Tortues, no. 2 Double Bass Solo 1 OUP
Schäfer Cowboy, no. 3 Small World Low Note Musikverlag
Tchaikovsky Old French Song The Essential String Method, Double Bass bk 4 Boosey
Trad. Upon Paul’s Steeple The Essential String Method, Double Bass bk 4 Boosey
Trad. March of the Kings The Essential String Method, Double Bass bk 4 Boosey
Trad. Greensleeves The Essential String Method, Double Bass bk 4 Boosey
Trad. Cherry Blossoms, no. 269 ABC’s of Bass book 2 Fischer
Trad. Auld Lang Syne, no. 39 Bass for Beginners Recital RM013
York Madeleine Dreaming The Essential String Method, Double Bass bk 4 Boosey
Group B
J S Bach Menuet, no. 8 La Contrebasse Classique vol. A Combre
Carroll Prelude and Gigue Five Simple Pieces for Double Bass & Piano Stainer H 2310
Slatford Dinosaur Dance, no. 70 Bass is Best! book 1 Yorke YE0090
Head Summer Serenade, no. 1 A Seaside Suite Recital RM287
Hoag The First Position Rag
or Half Position Rag Rags, Boogies and Blues Presser
Kozeluch Bernoise, no. 3 Pièces Classique pour Contrebasse book 1 Billaudot
Minvielle- La ballade de Sabrina
Sebastia or Le blues de Johanna 10 Duos Jazz Combre CO6044
Nicks Sunshine, no. 92 Bass is Best! book 1 Yorke YE0090
Osborne Pop Song [all pizzicato] The Double Bass Sings Piper
Osborne Procession of Kings The Double Bass Sings Piper
Osborne The Warthog Waltz, no. 14* A Jungle Jamboree Recital RM316
Schubert Dance 1 or Dance 2
from Two German Dances The Essential String Method, Double Bass bk 4 Boosey
Schumann The Merry Peasant, no. 5* Double Bass Solo 1 OUP
Trad. Good Morning, Merry
Sunshine ABC’s of Bass book 2 Fischer
Trad. Le Vieux Roi, no. 21 Pour les jeunes contrebassistes vol. 1 Billaudot
108


The candidate will be asked to play the scale of D major (one octave) with the rhythm d D on each
degree of the scale, separate bows. The exercise may end with an additional long note on the tonic.
[d D d ] [q = 80]
either i) Scales & Arpeggios (from memory)

E minor (up to flattened 6th only)
G minor (up to flattened 6th only)
All scales and arpeggios to be prepared with separate bows and slurred in pairs. The highest note of
slurred scales and arpeggios may be repeated.
NB Minor arpeggios should be performed according to the following pattern:

      
 
or ii) Studies
1. Jolly Folk Tune
2. Singing Lesson
3. Dreamy Lullaby
Trinity Guildhall.

Aural (see page 12)

109
unaccompanied.

Bartók Brâul Amazing Solos Double Bass Boosey
Carroll Courante Five Simple Pieces for Double Bass & Piano Stainer H 2310
Deutschmann Menuett, no. 9 [with trio] Yorke Solos vol. 1: 35 Easy Pieces Yorke YE0087
Grieg Norwegian Dance op. 35 Subterranean Solos BMP 006
Haydn Dance for a Party The Essential String Method, Double Bass bk 4 Boosey
Hindemith O Iso ed Osiro* Pieces for Solo Double Bass Schott ED 8378
Hoag Second position Boogie Rags, Boogies and Blues Presser
Kelly Folk Song, no. 3 Four Easy Pieces for Cello or Double Bass Yorke YE0091
Merle Mummers Danse Grotesque Festival Performance Solos Fischer
Nelson Reel, [top part only] p. 1 Technitunes Boosey
Osborne Italian Serenade, no. 14 The Double Bass Sings Piper
Schlemüller A Song Festival Performance Solos Fischer
Stewart Processional, no. 2 Suite Double-Bass book 2 Ricordi LD902
Trad. The Lincolnshire Poacher Technitunes Boosey
Rhoda Hebrew Meditation, no. 172 The ABC’s of Bass book 2 Fischer
Walton Donkey Cart, no. 96 Bass is Best! book 1 Yorke YE0090
Group B
J S Bach Jesu, Joy of Man’s Desiring Double Bass Solo 1 OUP
Czerny Dans la vallée La Contrebasse classique vol. B Combre C5716
Dale Sonatina op. 81,
3rd movt: Tempo di minuet Piper
DeCoursey Hippo March, no. 1 Six Easy Pieces BMI Canada Ltd
Handel Allegro, no. 5 Pièces Classiques book 1 Billaudot
Head Basking Shark, no. 5 A Seaside Suite Recital RM287
Láska (arr.) Fieldmarshall Blücher, no. 12 Yorke Solos vol. 1: 35 Easy Pieces Yorke YE0087
Leogrande Step Right Up, no. 5 8 Progressive Solos for the Beginning Bassist Latham BA-1
Nelson Toad in the Hole, p. 10 Technitunes Boosey
Norton A Quest [all pizzicato] Microjazz for Double Bass Boosey
Norton Soft Drink Microjazz for Double Bass Boosey
Osborne Syncopated Swing
[pizzicato or arco] Junior Jazz book 1 Recital
Schäfer Night Train [all pizzicato] Small World for Young Double Basses Low Note Musikverlag
Trad. Camptown Races The Essential String Method, Double Bass bk 4 Boosey
Tutt Perpetuum Mobile, no. 98 Bass is Best! book 1 Yorke YE0090
Warlock Basse-Danse Subterranean Solos BMP 006
Wood Hippos, no. 1 Wallpaper Tales for Double Bass & Piano Maecenas MM0343
110


The candidate will be asked to play one scale of their own choice from any of those listed below for Grade 3.
The scale should be played with the rhythm         on each degree of the scale. The exercise

A minor (one octave)
D minor (one octave)
G minor (one octave)

Chromatic scale starting on A (one octave)

Chromatic scale starting on G (one octave)

Double Stops [fifths and sixths]:
q = 72
        

111
or ii) Studies
1. Juggling
2. Old School Song
3. Parade Blues
Trinity Guildhall.

Aural (see page 12)

112
be unaccompanied.

Alexander Interior
(after Edouard Vuillard) Portfolio – Five Miniature Works of Art Recital RM290
Bizet Habanera La contrebasse classique vol. B Combre C5716
Boaden Elegy, no. 2 Petite Suite Yorke YEC47358
Depelsenaire Sous la neige Combre
Head Sweet and Low
from 3-Piece Suite Streets Ahead for Double Bass & Piano Recital
Hindemith Danza and Coda* Pieces for Solo Double Bass Schott ED 8378
Lancen Si j’étais...Moussorgsky Yorke Solos vol. 1: 35 Easy Pieces Yorke YE0087
Láska Scherzo-Polka Yorke Solos vol. 1: 35 Easy Pieces Yorke YE0087
Leogrande Home, no. 7 8 Progressive Solos for the Beginning Bassist Latham BA1
Nelson German Dance Technitunes Boosey
Nicks Lynda Busby plays the Bass Yorke Solos vol. 1: 35 Easy Pieces Yorke YE0087
Ridout Andante, no. 3 Dance Preludes for Double Bass or Cello Yorke YE0095
Schlemüller Old Soldiers Festival Performance Solos Fischer
Schumann Envoi, no. 1 Pièces Classiques pour Contrebasse book 2 Billaudot
Smith-Masters All Mimsy, 2nd movt: Vorpal Yorke YE0057
Wood Pavane, no. 3 Four Dances for Double Bass & Piano Maecenas MM0345
Group B
Copland The Little Horses Copland for Double Bass Boosey
De Coursey Nautch Dance, no. 6 Six Easy Pieces Berandol
Halahan Quadrille á Trois, no. 4 Bagatelles for Double Bass & Piano Yorke YEC45379
Handel March from Scipio, no. 23 Double Bass Solo 1 OUP
Hauta-Aho Paul and Charlie*
[all pizzicato]
from Jazz-Sonatine Pizzicato Pieces book 1 Recital
Kelly Dance, no. 4 Four Easy Pieces for Cello or Double Bass Yorke YE0091
Leogrande Hey, Mon! 8 Progressive Solos for the Beginning Bassist Latham BA-1
Marais Passepied La Contrebasse classique vol. B Combre C5716
Müller Neapolitan Dance Kjos
Müller The Gallant Suitor Kjos
Osborne Bass-in-Ragtime Recital Rags Recital RM083
Osborne Chill-Out [pizzicato or arco] Junior Jazz book 1 Recital
Piatti Scherzettino, no. 19 La contrebasse classique vol. A Combre
Prokofiev Troika from Lieutenant Kijé Amazing Solos Double Bass Boosey
Schlemüller Minuet in G major Festival Performance Solos Fischer
Thomas Gavotte from Mignon Subterranean Solos BMP 006
Trad. English Country Garden Subterranean Solos BMP 006
Trad. Le Pastoureau Pièces Classiques pour Contrebasse book 2 Billaudot
113



A major (to 12th)
G major (to 12th)
F major (to 12th)
A minor (to 12th)
G minor (to 12th)
All scales to be prepared with separate bows and slurred in pairs.
Dominant 7th in the key of C (one octave, starting on open G)

Dominant 7th in the key of Bb (one octave, starting on F)
Chromatic scale starting on C (one octave)

Chromatic scale starting on D (one octave)

Double Stops [fourths, fifths and sixths]:
q = 84
            
 
114
or ii) Studies
1. Running Tune
2. Fiddling Tune
3. Bluesy Bass Line
Trinity Guildhall.

Aural (see page 12)

115
Instead of one item, candidates may offer their own composition (see page 11). One piece may be unaccompa-
nied.
Handel Sarabande La contrebasse classique vol. B Combre C5716
Hauta-Aho Lullaby Teppo’s Tunes Recital RM068
Haydn Andante, no. 32 Double Bass Solo 1 OUP
Head Badinage Streets Ahead for Double Bass & Piano Recital
Hindemith Szene III, Recitativo
e Aria Alcantara* Pieces for Solo Double Bass Schott ED 8378
Isaac The Jolly Dutchman Festival Performance Solos Fischer
Kelly Mazurka, no. 2 Four Easy Pieces for Cello or Double Bass Yorke YE0091
Lancen Berceuse for Baby
Hippopotamus Yorke YE0054
Láska Romanza, no. 19 Yorke Solos vol. 1: 35 Easy Pieces Yorke YE0087
Martin Pompola Festival Performance Solos Fischer
Mendelssohn Romance sans Paroles Pièces classiques vol. 1 Billaudot
Merle Demetrius Festival Performance Solos Fischer
Moszkowski Spanish Dance no. 2 op. 12 Subterranean Solos BMP 006
Pitfield Sonatina for Double Bass,
2nd movt: Quodlibet Yorke YE0029
Proust Le bon barbu rond Combre
Purcell Rondeau Subterranean Solos BMP 006
Trad. Stars, No Moon Amazing Solos Double Bass Boosey
Group B
Alexander Self Portrait
(after Francis Bacon) Portfolio – Five Miniature Works of Art Recital RM290
Bernstein Cool from West Side Story Amazing Solos Double Bass Boosey
Carroll Cuban Rumba Five National Dances Stainer
Dare Menuet Yorke YE0012
Dodgson Lighting the Match Bass in Space Recital
Giovannino Sonata in A minor, 1st movt:
Adagio and 2nd movt:
Aria staccata e allegra Yorke YE0008
Glière Russian Sailor’s Dance Fischer
Heller Prelude in F, no. 3 Four Preludes Recital RM318
Nicks A Dog’s Life: Dog Tired
and The Great Tail Chase Yorke Solos vol. 1: 35 Easy Pieces Yorke YE0087
Osborne Jazz Waltz [all pizzicato] Junior Jazz book 1 Recital
Osborne Ragtime Waltz Recital Rags Recital RM083
Paxton Sonata in D op. 3 no. 2,
1st movt: Allegretto BMP BMP 005
Pepusch Musique de Théâtre Pièces classiques vol. 2B Billaudot
Rameau Dance, no. 68 Bass is Best! book 2 Yorke YE0098
Rimsky-
Korsakov Mazurka La Contrebasse classique vol. B Combre C5716
Steibelt Un Bal Pièces classiques vol. 2B Billaudot
Wood Teddy Bears, no. 4 Wallpaper Tales for Double Bass & Piano Maecenas MM0343
116 * Denotes unaccompanied repertoire




C major (to 12th)
Bb major (to 12th)
Eb major (one octave)
G minor (two octaves)
C minor (to 12th)
Bb minor (to 12th)
Dominant 7th in the key of F (one octave, starting on C and resolving onto the tonic)
Dominant 7th in the key of Eb (one octave, starting on Bb and resolving onto the tonic)
Chromatic scale starting on Eb (one octave)

Chromatic scale starting on G (one octave)
To be prepared with separate bows and slurred three notes to a bow.
Diminished 7th starting on C (one octave)

Diminished 7th starting on Bb (one octave)

Broken Thirds in C major
q = 92-108
                

           
  
117
or ii) Studies
1. Opera Scene
2. Czardas-Klezmer
3. Swing 1
Trinity Guildhall.

Aural (see page 12)

118
Instead of one item, candidates may offer their own composition (see page 11). One piece may be
unaccompanied.

J S Bach Prelude in C, no. 4 (from Four Preludes) Recital RM318
Bayford Cantilena Semplice op. 94 Recital RM329
Beethoven Sonatina (from Solos for the Double Bass Player) Schirmer
Copland Laurie’s Song or Vieux Poème (from Copland for Double Bass) Boosey
Corelli Sarabande (from Festival Performance Solos) Fischer
Elliott Odd Man Out Yorke YE0015
Gouinguené Adagio Leduc
Hauta-Aho A Little Waltz (from Teppo’s Tunes) Recital RM068
Jenkins Ballad for Bass Recital RM297
Keÿper Romance (from Romance and Rondo) Yorke YE0030
Merle Caballero (from Festival Performance Solos) Fischer
Pergolesi Tre Giorni, Siciliana (from Festival Performance Solos) Fischer
Proust Arcades Combre
Walton A Deep Song Yorke YE005
Group B
Andersen Rondo from Sonatina (from Festival Performance Solos) Fischer
Bernstein America from West Side Story (from Amazing Solos Double Bass) Boosey
Boccherini Menuet (from Pièces classiques vol. 2B) Billaudot
Calmel Danse Finlandaise Combre CO3459
Carroll Fantasia in E minor (from Three Pieces for Double Bass) Forsyth
Corelli/
Dragonetti Solo in D minor, 3rd movt: Allegro-Sarabanda Doblinger
Diabelli Sonatine (from La contrebasse classique vol. B) Combre C5716
Dubois Le Gai Cascadeur Editions Rideau Rouge
Flinn Down to Earth for Double Bass & Piano Recital RM248
Gabriel-Marie La Cinquantaine BMP 001
Hauta-Aho Di-Ba-Dum* [all pizzicato] (from Pizzicato Pieces book 1) Recital
Marcello Sonata in G, 3rd movt: Grave and 4th movt: Allegro IMC 1159
Ratez Parade op. 46 no. 1 (from Characteristic Pieces book 1) Recital RM189
Russell Buffo Set, 1st movt: Allegro ritmico and 2nd movt: Andante Recital RM243
Vivaldi Sonata no. 1 in Bb, RV 47, 3rd movt: Largo and 4th movt: Allegro IMC 2302
119



The candidate should prepare the major and minor scales and arpeggios from the following tonal cen-
tres, to be played with separate bows or slurred as requested by the examiner. The candidate may pause
briefly between individual scales and arpeggios.
A (two octaves)
E (two octaves)
F (two octaves)
Major tonal centre

The major scale
The major arpeggio
The dominant 7th starting on that note and resolving onto the tonic.
Minor tonal centre

The minor arpeggio
Dominant 7ths to be prepared with separate bows and slurred two notes to a bow.
D major in thumb position (one octave)

D melodic minor in thumb position (one octave)
To be prepared with a down and an up bow on each note

Chromatic scale starting on F (two octaves)
To be prepared with separate bows and slurred four notes to a bow
Diminished 7th starting on E (two octaves)

Diminished 7th starting on F (two octaves)
All to be prepared with separate bows and slurred two notes to a bow
See pages 8–9 for examples of rhythmic and bowing patterns for each scale.
120

Broken Thirds [G major], see Grade 5 example on page 117
Group 1:
Beethoven: Symphony no. 5 [2nd movt: Andante con moto]
(or Double Bass Solo 2, no. 15) OUP
Dvořák: Symphony no. 8 [Allegro ma non troppo]
Group 2:
Mozart: Overture Die Zauberflöte [Allegro] [h = 66]
(from Test Pieces for Orchestral Auditions, page 28 as far as bar 126) Schott ED 7854
Weber: Overture DieFreischütz [Molto vivace] [h = 92]
Brahms: Symphony no. 2 [4th movt: Allegro con spirito]
Smetana: Overture The Bartered Bride [Vivacissimo] [h = 96]
(or Double Bass Solo 2, no. 16, with repeats) OUP
Walton: Spitfire Prelude and Fugue [Vivo] [h = 100]
and
Sibelius: Symphony no. 2 [Andante ma rubato]
(from Double Bass Solo 2, nos. 11 and 30) OUP


121
unaccompanied.

Ameller Cantabile op. 46 no. 2 Combre
Clucas Prelude and Valse (from Suite for Double Bass & Piano) Recital
Dall’Abaco Grave, no. 2 (from Solos for the Double Bass Player) Schirmer
Head Tango Nuevo Recital RM281
Hegner Romance [bass clef version] Recital
Kelly Caliban (from Caliban and Ariel) Yorke YE0065
Kohaut Concerto, 2nd movt: Adagio Yorke YE0094
Noskowski Elegy Polonaise Recital
Osborne Aeolian Air Recital
Ratez Cantabile op. 46 no. 2 (from Characteristic Pieces book 1) Recital RM189
Rossini Une larme (A Tear) Recital RM303
Saint-Säens Aria, Mon coeur s’ouvre à ta voix McTier Music
Verdi Solo from Rigoletto (from Solos for the Double Bass Player) Schirmer
Waud Novelette (from Yorke Solos vol. 1: 35 Easy Pieces) Yorke YE0087
Group B
Ameller Wymsol and Ypers Leduc AL 26303
Bach Gavotte in G minor (from Festival Performance Solos) Fischer
Clucas Sonatina, 1st movt: Moderato-Allegro Recital RM295
De Fesch Sonata in F, 1st movt: Präludium and 2nd movt: Allemande Hofmeister
Galliard Sonata in G, 2nd movt: Allegro and 3rd movt: Andante teneramente IMC
Hester The Bull Steps Out Yorke YE0070
Kratz Desert Places* [complete] (from Recital Solos vol. 1) Recital
Lamb Dowland Doubles (complete; lower version) Recital RM222
Leogrande May I? For Bass & Piano Latham BA-2
Marcello Sonata No.2 in E minor, 1st movt: Adagio and 2nd movt: Allegro IMC
Mozart Bassoon Concerto in Bb K. 191, 3rd movt: Rondo -Tempo di minuetto
[bar 42 played 8va higher; bar 135 optional 8va higher] IMC 2421
Osborne Space-Mission (from Bass in Space) Recital
Russell Chaconne (from Solos for the Double Bass Player) Schirmer
Vivaldi Sonata no. 2 in F, 1st movt: Largo and 2nd movt: Allegro IMC 2303

122

below for Grade 7. The whole scale should be played with hooked bowing, as in the following example :
q = 88
       
        
 etc.

Group 1: B (two octaves)
C (two octaves)
Ab/G# (two octaves)
or
Group 2: D (two octaves)
F# (two octaves)
Bb (two octaves)
Major tonal centre

The major scale
The major arpeggio
Minor tonal centre

The minor arpeggio
Dominant 7ths to be prepared with separate bows and slurred two notes to a bow.
Chromatic scale starting on B (two octaves)
Chromatic scale starting on F# (two octaves)
All to be prepared with separate bows and slurred four notes to a bow.
Diminished 7th starting on G (two octaves)
Diminished 7th starting on F# (two octaves)
All to be prepared with separate bows and slurred two notes to a bow.
123

a) Broken Thirds in Bb major
q = 120
          
        etc.
      etc.          
b) Running Thirds in Bb major
q. = 60
                         

     
   
             

Group 1:
Beethoven: Symphony no. 9 [4th movt: Presto]
Berlioz: Symphonie Fantastique [Adagio]
(from Double Bass Solo 2, no. 24) OUP
J S Bach: Violin Concerto no. 2 [Adagio]
Group 2:
Mozart: Overture Marriage of Figaro [Presto] [h = 104]
Weber: Overture Euryanthe [Assai moderato] [N.B. Hooked bows to be used on dotted rhythms]
(from Test Pieces for Orchestral Auditions, page 56/7, to bar 161 and bar 211 to end) Schott ED 7854*
Borodin: Prince Igor [Allegro] [h = 104]
Verdi: La Traviata [Act 1: Allegro vivo] [h = 96]
Elgar: Introduction and Allegro [Allegro] [q = 100]
* N.B. Double Bass Solo 2 version must not be used for this item.


124
unaccompanied.

Ameller Eglogue Combre C5352
Benstead Lament, no. 3 of Four Episodes Yorke YE0085
Bottesini Reverie McTier Music
Bottesini Air d’il Trovatore (from Arias for Double Bass & Piano) Yorke YE 0023
Fauré Sicilienne op. 78 [middle section an octave higher] IMC 919
Gajdos Capriccio no. 5* (from Selected Works for Bass) Presser
Geissel Adagio (from Solos for the Double Bass Player) Schirmer
Gouffé Concertino op. 10 Billaudot
Kuchynka Canzonetta Recital RM001
Labro Concertino in G, op. 32 no. 2 Combre
Mendelssohn Song Without Words op. 109 (from Lucas Drew Solo Album vol. 1)** Belwin Mills
Nielsen Romance from Fantasy Pieces (from Lucas Drew Solo Album vol. 1)** Belwin Mills
Rachmaninov Vocalise, no. 12 (from Solos for the Double Bass Player) Schirmer
Tulácek Chant d’amour (1920), (from Three Pieces for Double Bass & Piano) Recital RM021
Waud Reverie for Double Bass & Piano Recital RM118
Group B
Benstead Conversation Piece (from Four Episodes) [all pizzicato] Yorke YE0085
Chastanet Ballad Oubliée Billaudot
Cimador Concerto in G, 1st movt: Allegro Yorke YE0003
D’Andrieu Prelude and Allegro from Sonata in G (from Solos for the Double Bass Player) Schirmer
Dragonetti Allegretto (from Lucas Drew Solo Album vol. 1)** Belwin Mills
Eccles Sonata in G minor, 2nd movt: Corrente and 3rd movt: Adagio IMC 1712
Eisengräßer Variations on a favourite Styrian Folk Song [without var. 1, 2, & 3]
(from Festival Performance Solos) Fischer
Handel Sonata in C minor, 1st movt: Adagio and 2nd movt: Allegro
(from Solos for the Double Bass Player) Schirmer
Hauta-Aho Audition Fantasy, no. 2* (from Typically Teppo 2) Recital RM321
Hauta-Aho Pizzicato Waltz* [all pizzicato] (from Pizzicato Pieces book 1) Recital
Joubert Grand Hôtel Editions Pierre Lafitan
Jacob Introduction and Scherzo (from A Little Concerto) Yorke YE0032
Lorenzitti Gavotte BMP
Reynolds Hornpipe BMP 004
Romberg Sonata in E minor op. 38 no. 1, 3rd movt, Rondo – Allegretto IMC 3097
Venkov Bulgarian Dance for Double Bass & Piano Recital RM091
Vivaldi Sonata no. 3 in A minor, RV 43, 1st movt: Largo and 2nd movt: Allegro IMC 1474
** This publication is unfortunately out of print, however candidates may still use it if they can get hold of an
original copy. Use of a photocopy is not acceptable.
125


Grade 8. The examiner will choose any one of the specified bowings from Grade 5, 6, or 7 and ask the


E (three octaves)
C (two octaves)
Db/C# (to 12th)
or
E (three octaves)
B (two octaves)
C#/Eb (to 12th)
Major tonal centre

The major scale
The major arpeggio
The dominant 7th starting on that note and resolving onto the tonic (all two octaves except
for Db and Eb, one octave only)
Minor tonal centre

The minor arpeggio
All scales to be prepared with separate bows and slurred seven notes to a bow (two and three octave scales)
or four notes to a bow (scales to a 12ths).
The diminished 7ths starting on each of the four notes of the chosen group
(on Db and Eb, one octave only)
To be prepared with separate bows and slurred two notes to a bow.
126
The chromatic scale starting on each of the four notes of the chosen group
(all two octaves except for Db and Eb, one octave only)
To be prepared with separate bows and slurred six notes to a bow.

a) Broken Thirds: C major (one octave)
      
4

 
4 4
    
2
   etc.
b) Broken Thirds: F major (two octaves)

_4
         
      
 etc.
c) Running Thirds: G major on the G string (one octave), see Grade 7 example on page 124

Group 1:
Verdi: Othello [Act 4: Poco più mosso]
Haydn: Symphony no.31 [Variation 7]
Group 2:
Schubert: Symphony no. 8 [3rd movt: Scherzo – Allegro vivace]
(from Test Pieces for Orchestral Auditions, pages 30/31, beginning to bar 150) Schott ED 7854
Britten: The Young Person’s Guide to the Orchestra [Var. H]
Beethoven: Symphony no. 5 [3rd movement: Allegro] [h. = 84]
(from Test Pieces for Orchestral Auditions, page 12, as far as bar 72) Schott ED 7854
or Scherzo [not Trio] (from Double Bass Solo 2, no. 15) OUP
Bach: Badinerie from Suite no. 2 [Vivace] [q = 112]


127
Harp — Initial Subject code: HRP
Three pieces are to be played, one from each Group. Instead of one item, candidates may offer their own
composition (see page 11).
Group A
Composer Piece Book Publisher
Clifton-Welker Lullaby Harping On book 1 Clifton-Welker
Clifton-Welker Skaters Harping On book 1 Clifton-Welker
Gough/Perrett Buckets and Spades Lift-Off for Harp Beartramka
Gough/Perrett Chop Chop Lift-Off for Harp Beartramka
Gough/Perrett Games in the Playground Lift-Off for Harp Beartramka
Gough/Perrett Up and Down the Stairs Lift-Off for Harp Beartramka
Group B
Kanga The Glittering Ballroom
or The Royal Boat Minstrel’s Gallery Maruka
Macdearmid Suo Gan Beginner’s Choice—Folio 18 Clarsach Society
Gough/Perrett Cosy in Bed Lift-Off for Harp Beartramka
Gough/Perrett Donkey Ride Lift-Off for Harp Beartramka
Gough/Perrett Rain on the Roof Lift-Off for Harp Beartramka
Milligan Lazy Mary Fun from the First book 1 Lyon & Healy
Paret Moonlight Lyra
Thomson Melody Beginning at the Harp Pilgrim (distributor)
Group C
Kanga Daffodil Dance Minstrel’s Gallery Maruka
Gough/Perrett Yo-yo Lift-Off for Harp Beartramka
Grandjany Three O’Clock First Grade Pieces for Harp Fischer
Milligan Round Dance Fun from the First book 1 Lyon & Healy
Radford Branle de la moutarde
[19-string version. Only
three repeats at the end] The Very Small Harp Book Pamela Radford
Radford Clog Bransle
[19-string version] The Very Small Harp Book Pamela Radford
Thomson We Dance Beginning at the Harp Pilgrim (distributor)
128
Harp — Initial

Candidates are to prepare all technical work for Initial Grade as specified in Technical Development for
Harpists published by Trinity Guildhall.

Aural (see page 12)

129
Harp — Grade 1 Subject code: HRP

Corri Marche Panorama de la harpe celtique,
ed. Bouchaud Ed Mus Trans TR001761
Gough/Perrett Kangaroos Lift-Off for Harp Beartramka
Hasselmans Petite berceuse op. 11 Leduc AL 20005
Le Dentu (arr.) Tanto Zentil Pièces classiques cahier 1,
ed. Bouchaud Billaudot GB3162
Weidensaul Barn Dance Memory First Grade Pieces for Harp, ed. Grandjany Fischer 0466
The following piece can only be performed on pedal harp:

Owens Bird Discussion 12 Impressions on Pedal Patterns Lyon & Healy
Group B
Clifton-Welker Raindrops for Rachel Harping On book 1 Clifton-Welker
Kinnaird Over the Sea to Skye The Small Harp Kinmor
Mcdonald Moonlight Harp Solos vol. 1, ed. McDonald & Wood Vanderbilt M-17
Paret Berceuse de Noël Lyra
Thompson
& Lovelace First Day of Spring Vanderbilt L-23

Owens Sunday Morning 12 Impressions on Pedal Patterns Lyon & Healy
Group C
Kinnaird Islay Jig The Small Harp Kinmor
Macdearmid Fiesta
or Merry Go Round Beginner’s Choice—Folio 18 Clarsach Society
Milligan Purple Bamboo Fun from the First vol. II Lyon & Healy
Paret I Hear a Harp Lyra
Paret Rondo 1st Harp Book Lyra
Weidensaul Midnight Stars First Grade Pieces for Harp Fischer

Owens A Red Waltz 12 Impressions on Pedal Patterns Lyon & Healy
130
Harp — Grade 1

Candidates are to prepare all technical work for Grade 1 as specified in Technical Development for

Aural (see page 12)

131

Andrès No. ll or no. IV Charades Hortensia HA 009609
Canteloube Nai pas Ieu de mio Bourées d’Auverne Gordon Johnston
Gough/Perrett Into Space Lift-Off for Harp Beartramka
Grandjany The See Saw Little Harp Book Fischer 04636
Macdearmid Copy Cat First Steps—Folio 21 Clarsach Society
The following pieces can only be performed on non-pedal harp:

Kinnaird, ed. Kilbrachan Weaver
or Miss A Kingnorth
of Temple The Small Harp Kinmor
Group B
Burgon Dawn or First Sun Beginnings Stainer H52
Clifton-WelkerMatador’s Lament
or Goblin Rustle Harping On book 1 Clifton-Welker
Gough/Perrett Deep Sea Diving Lift-Off for Harp Beartramka
Paret O’Carolan’s Air
or Foggy Dew 1st Harp Book Lyra
Thomson Ebbing Tide Vanderbilt T-10
Thomson Song at Night Vanderbilt T-11
Group C
Bartók In Yugoslav Mode Mikrokosmos for Harp, ed. Marzuki Boosey
Clifton-Welker Waltz for Emily Harping On book 1 Clifton-Welker
Haydn,
arr. Paret Andante 1st Harp Book Lyra
MacDearmid Ghosts First Steps—Folio 21 Clarsach Society
Rothstein Frolicking Lambs
or Butterfly Animals on the Harp Salvi
Weidensaul El numero uno First Grade Pieces for Harp, ed. Grandjany Fischer 0466

Owens Dance of the Little Fish 12 Impressions on Pedal Patterns Lyon & Healy
132
Harp — Grade 2


Aural (see page 12)

133

Anon. La sola grazia Panorama de la harpe celtique, Ed Mus Trans
ed. Bouchaud TROO1761
Anon. A Toy Anthology of English Music for the Harp
1550–1650 vol. 1, ed. Watkins Stainer H139
Attaignant Gaillarde Panorama de la harpe celtique, Ed Mus Trans
Clementi 1st movt from Sonatina Second Harp Book, ed. Paret Lyra
Gounod Les Pfifferari Medieval to Modern vol. 2 Lyon & Healy
Grandjany Any one of Trois petites
pièces très faciles op. 7* Leduc AL 20039
Pratt Sonatina in Classical Style Lyon & Healy
Woods, ed. Carolan’s Receipt (version B)
or Carolan’s Cap (version B)
40 O’Carolan’s Tunes Woods
The following pieces can only be performed on pedal harp:

Trad. Welsh Llongau Caernarfon
(The Ships of Caernarfon) Famous Music for the Harp vol. 1 Alaw
Reinecke Dragonfly in the Sunshine 30 Little Classics, ed. Dilling Ditson PR0055
Group B
Andrès No. 1 or 2 Aquatintes Hortensia
HA 009606
J S Bach While Bagpipes Play 2nd Harp Book, ed. Paret Lyra
Burgon First Man Beginnings Stainer H52
Gabus Dans le parc de bambus Images de Chine Billaudot G 4019B
Macdearmid Whirlwind Party Pieces — Folio 23 Clarsach Society
McDonald Serenade Harp Solos vol. 2, ed. McDonald & Wood Vanderbilt M-18
Stevenson, arr. The Ash Grove Sounding Strings UMP

Clifton-Welker Weeping Willow Sparks from the Harp Ink to Music
Keough, arr. The Foggy Dew Archduke Music
Hasselmans Rouet Trois petites pièces faciles Durand 453300
Hasselmans Any one of Trois petites
bluettes op. 28 Leduc AL 20009
* On non-pedal harp, Barcarolle may be played in C major.
134
Harp — Grade 3
Group C
Andrès Any one of nos. 3, 8 or 10 Les petits pas Lemoine 26985
Bartók Five Tone Scale Mikrokosmos for Harp, ed. Marzuki Boosey
Gabus Les oiseaux de la palmérie
or Le petit âne du caire Sur les bords du Nil Lemoine 25151
Green Blistering Rock Blistering Along! Green
MacDearmid Hoe Down Party Pieces — Folio 23 Clarsach Society
Mudarra Tiento II or VIII My Harp’s Delight, ed. van Campen Salvi
Phillips No. I or no. IV Le jardin secret d’Élodie Combre C5136
Roper Exploring the
Naracoote Caves Whispers of Time HarpLore Jan-95
Salzedo Beethoven at School Sketches for Harpist Beginners, 1st Series Elkan-Vogel
Wood Processional Harp Solos vol. 2, ed. McDonald & Wood Vanderbilt M-18
Yradici La Paloma Medieval to Modern vol. 1 Lyon & Healy

Clifton-Welker Jalapeno Chilli
or Blue Strings Sparks from the Harp Ink to Music
Mayhew Mark’s Cakewalk Time & Motion J Mayhew


Aural (see page 12)

135
Pedal Harp — Grade 4 Subject code: PHP

Amorosi Rondo Salvi
Dussek Sonatina no. 1 in C, 1st movt:
Andante con moto Six Sonatines for Harp Bärenreiter Praha H 1748
Dussek Sonatina no. 2 in F, 1st movt:
Andante grazioso Six Sonatines for Harp Bärenreiter Praha H 1748
Dussek Merch Megan (Megan’s Daughter) Adlais 017
Handel Air Varie Medieval to Modern vol. 1, ed. Milligan Lyon & Healy
Gough Nice Cup of Tea Beartramka
Group B
Mayhew Clouds Skies J Mayhew
Gustavson Love Song
or Riding on the Wind Songs without Words Gustavson
Hasselmans Reverie Trois petites pièces faciles Durand 453300
Hasselmans Sérénade mélancolique Feuilles d’automne Durand 565100
Lancen Pour Raphael Leduc AL 28751
Mcdonald Nocturne Harp Solos vol. 5, ed. McDonald & Wood Vanderbilt M-21
Group C
Bartók Triplets (no. 11, p. 18) Mikrokosmos for Harp, ed. Marzuki Boosey
Gabus La pagode de
l’harmonie célèste or
Paysage au bord de l’eau
or Un français à Pekin Images de Chine Billaudot G 4019B
Pitfield Sonatina for Clarsach or harp,
1st movt Broekmans BRP1450
Renie Angelus Feuillets d’album Lemoine 19302
Turner Skegness Rock Lever Harp World Beartramka


Two tests are to be played, chosen from:
Aural (see page 12); Improvisation (see page 15)

Musical Knowledge (see page 18); Sight Reading (see page 20)
136
Non-Pedal Harp — Grade 4 Subject code: NHP
Buttstedt Menuet Panorama de la harpe celtique Ed Mus Trans TROO1761
Jollet Intrada Trois petits mouvements musicaux Billaudot GB4734
Kinnaird, ed. Dunkeld Steeple The Small Harp Kinmor
Naderman Etude I Naderman pour Harpe Celtique Zurfluh AZ1315
Popesco Matinales nos. 4 and 5 Matinales Billaudot G6329B
Van Campen Variations on Mozart’s
‘Joseph Häussler’ Theme Harmonia HU3268
Woods, ed. Carolan’s Welcome, version B 40 O’Carolan’s Tunes Woods
Group B
Adie Flight Lever Harp World Beartramka
Anderson Con Poco Rubato
(no 2 of Two Pieces
for Lever Harp) Lever Harp World Beartramka
Rollin, arr. Romance Pièces anciennes pour harpe celtique Leduc AL 27187
Sor Andante My Harp’s Delight, ed. van Campen Salvi
R Stevenson, Hal an Tow
arr. or Eriskay Love Lilt Sounding Strings UMP
S Stevenson,
arr. Balaich An Iasgaich Old School
Group C
Andrès Prelude VI or Prelude VII Préludes 2ème cahier Hortensia HA 009625
Barber Morning Splendor Windmill Sketches Salvi
Bartók Triplets (no. 11, p. 18) Mikrokosmos for Harp, ed. Marzuki Boosey
Francois Ragtime Easy Swing Billaudot GB7382
Gabus La pagode de
l’harmonie célèste or
Paysage au bord de l’eau
or Un français à Pekin Images de Chine Billaudot G 4019B
Green Ragged Robin Flights of Fancy Green
Kinnaird Kid on the Mountain The Small Harp Kinmor
Pitfield Sonatina
for Clarsach or harp, 1st movt Broekmans BRP1450
Turner Skegness Rock Lever Harp World Beartramka
Trad. Welsh Sosban Fach Famous Music for the Harp vol. 1 Alaw


Aural (see page 12); Improvisation (see page 15)
Musical Knowledge (see page 18); Sight Reading (see page 20)
137

Anon. Watkins Ale Anthology of English Music for the Harp
Cabezon Pavane and Variations Spanish Masters, ed. Zabaleta Schott
Dussek Sonatina no. 3 in G, 2nd movt: Bärenreiter Praha
Allegro non tanto Six Sonatines for Harp H 1748
Handel Chaconne [omitting pages
Trans. Boye numbered 4 and 5
in this edition] Lemoine 23433
Naderman Sonata no. 1 in Eb, 1st movt 7 sonates progressives Leduc AL 20037
Naderman Sonata no. 2 in C minor, 1st movt
or Allegretto 7 sonates progressives Leduc AL 20037
Peerson The Fall of the Leafe Anthology of English Music for the Harp
Group B
Burgon Any one of
Three Nocturnes Chester CH55172
Gartenlaub Air Pièces brèves contemporaines
vol. 3, ed. Devos Durand RID737
Grandjany Les Cerisiers en Fleurs Lyra
Renie Au Bord du Ruisseau Leduc AL 20018
Tournier Soupir or Offrande Deux petites pièces brèves et faciles Eschig ME8268
Tournier Prélude 1 or Prélude 3 Quatre préludes op. 16 Leduc AL 20062
Group C
Salzedo Seguidilla Suite of Eight Dances Lyon & Healy
Bartók Merriment (no. 13, p. 30) Mikrokosmos for Harp, ed. Marzuki Boosey
Henderson
arr. Fell Bye, Bye Blackbird Popcycle Series F. C. Publishing
Mcdonald Toccata (Sabre Dance) Harp Solos vol. 4, ed. McDonald & Wood Vanderbilt M-20
Pernambuco Sons de Carillons,
arr. Middleton Ricordi LD908
Watkins Rondo
(from 2nd Suite for Harp) Complete Method for Harp Boosey (custom print)
138
Pedal Harp — Grade 5


Aural (see page 12)

139

Anon.
ed. Le Dentu) Variations sur un thème de Mozart Billaudot G 3163B
Handel Petite Sonate Panorama de la harpe celtique, Ed Mus Trans
Kuhlau Theme and Variations Panorama de la harpe celtique, Ed Mus Trans
Naderman Rondoletto from Sonata no. 1 Pièces classiques, cahier 5,
ed. Bouchaud Billaudot GB4369
Naderman Any one of
Études II, IV, V or VII Naderman pour harpe celtique Zurfluh AZ1315
Naderman Etude III or Etude VI Naderman pour harpe celtique Zurfluh AZ1315
Group B
Collinson, arr. The Key of the Strings
or The Royal Lament The Small Harp, ed. Hewitt Kinmor
De Braal Andante no. II De kleine Harp Salvi
MacDearmid
arr. Ye Banks and Braes The Small Harp, ed. Hewitt Kinmor
Shimofusa Tanabatasama Harpy Hands, ed. Nagasawa Masumi
Springthorpe Carol Lever Harp World Beartramka
Stevenson The South Wind
or Mingulay Boat Song Old School
Van Campen Pavane no. VII My Harp’s Delight, ed. van Campen Salvi
Group C
Jackson, arr. Paddy’s Leather Breeches The Millenium Folio Clarsach Society
De Braal Presto no. 13 De kleine Harp Salvi
Gabus Les cavaliers du Sinkiang Images de Chine Billaudot G 4019B
O’Carolan Concerto Panorama de la harpe celtique, Ed Mus Trans
Sor Study no. 5 Panorama de la harpe celtique, Ed Mus Trans
Steffens No. 1 from Sarah’s Little
Daydream op. 59 Simrock EE5192
Strauss, arr. Fell Strauss Waltz Medley Pop ‘ n’ Easy book 1 Vanderbilt
140
Non-Pedal Harp — Grade 5


Aural (see page 12)

141
J S Bach Etude no. 3 (from Études for the Harp, arr. Grandjany) Fischer 04819
Byrd Pavana (from Anthology of English Music for the Harp 1550–1650
vol. 1, ed. Watkins) Stainer H139
Morley Alman (from Anthology of English Music for the Harp vol. 1, ed. Watkins) Stainer H139
Naderman Prelude and Allegro Moderato from Sonata no. 3 in Bb
(from 7 Sonates progressives) Leduc AL 20037
Naderman Sonata no. 4 in G minor, Prelude and Allegro moderato
(from 7 Sonates progressives) Leduc AL 20037
Salzedo Menuet (from Suite of Eight Dances) Lyon & Healy
Group B
Erdelyi No. 1 (from Three Preludes 1948) Moscow Music 1960
Delmas Prière Salvi
Grandjany Arabesque Durand 860200
Grandjany Automne Durand 1130000
Grandjany Prelude no. 3 (from Preludes) Salabert EMS4192
Rubbra Pezzo ostinato Lengnick AL2118
Tournier Prelude 2 or 4 (from 4 Preludes) Leduc AL 20062
Tournier Berceuse russe Lemoine 22529
Group C
Bartók An Evening in the Village EMB
Britten Interlude (from A Ceremony of Carols) Boosey
Casterède Première romance sans paroles
(from Pièces brèves contemporaines vol. 1, ed. Devos) Durand RID301
Devos Pour les pédales
(from Pièces brèves contemporaines vol. 3, ed. Devos) Durand RID301
Francois Sweet Horsefood Ballad (from Happy Hours) Billaudot GB7383
Lewis Jazzette (from Saturday Night Jazz Suite) Goodmusic
Mancini
arr. Cauffman The Pink Panther F. C. Publishing
Salzedo Song in the Night (from Complete Method for the Harp,
ed. Lawrence & Salzedo) Schirmer GS32807


142

Anon. A Toye (from Classical Tunes for the Irish Harp Broekmans
vol. 2, ed. Van Campen) BRP1507
J C Bach Presto (from Pièces classiques cahier 5, ed. Bouchaud) Billaudot GB4369
Bochsa Rondo (from Pièces classiques cahier 5, ed. Bouchaud) Billaudot GB4369
Hochbrucker Allegro Zurfluh AZ 1335
Mudarra Fantasia (from Pièces anciennes pour harpe celtique, ed. Rollin) Leduc AL 27187
Scarlatti Sonata in C (from Pièces classiques cahier 5, ed. Bouchaud) Billaudot GB4369
Group B
Challan Laura Lido LM58
De Braal Sarabande (from De Kleine Harp) Salvi
O Gallchobhair Deirin De (from The Irish Harp Book, ed. Cuthbert) Carysfort Press
McGurr, arr. Maighdeanan na h-airidh (from The Millenium Folio) Clarsach Society
Stevenson Logan Water Old School
Stevenson The Dowie Dens of Yarrow Old School
Sutton-
Anderson* No 1 or 2 from Three Haikai for lever harp (from Lever Harp World) Beartramka
Group C
Carolan Sean O’Raighilligh (from Carolan’s Receipt, arr. Bell) Lyra
Carolan, arr.
Groocock Lady Dillon Cairde Na Cruite
Challan Promenade à Marly Lido LM58
Francois Families Blues (from Easy Swing) Billaudot GB7382
Godefroid Étude (from Pièces classiques cahier 5, ed. Bouchaud) Billaudot GB4369
Megevand Ronde Breton Harposphere
Pollet 2ème Sonate, 1st movt Billaudot GB3378
Sutton-
Anderson* No. 3 from Three Haikai for lever harp (from Lever Harp World) Beartramka
Wright Cross Currents (from Lever Harp World) Beartramka
*This composer may be selected for group B or C but not both.


143
J S Bach Étude 7 or 9 (from Études for Harp, arr. Grandjany) Fischer 04819
J S Bach Pièce en sol Durand 770200
Backofen Sonata—Allegro (ed. Pasetti) Orpheus
Benda Sonata—Allegro molto [ending at 3rd bar of 2nd system, page 8 before Fantasia]
or Rondo Salvi
Dussek Any two movements from Sonata in C minor Schott BSS38511
Henshall Tair Dawns Gymreig no. 3 (from Living Harp vol. 1, ed. Bennet) Curiad7013
Steibelt Rondo Pastorale (from Airs, Variations & Sonates
des XVII & XIX Siècles vol. 2, ed. Beltrando) Harposphere 11462
Group B
Berkeley Nocturne Stainer H144
Debussy Arabesque no. 1 Durand 674700
Erdelyi No. 2 of Three Preludes 1948 or Elegy Moscow Music 1960
Humperdinck Nachtstuck Schott ED 9218
Lewis No. 1 or no. 2 (from Valses Pastiches) Goodmusic
Parrott Arfon, 1st and 2nd movts
or 3rd and 4th movts (from Living Harp vol. 1, ed. Bennet) Curiad 7013
Sirenko Orange Evening Beartramka
Snell Golden Moments Modus Music
Tournier Étude de concert ‘au matin’ Leduc AL 20007
Tournier Claire de lune sur l’étang du parc (from Images 1ère suite) Lemoine 21775
Group C
Andrès Sweet Blues Hamelle HA9 724
Chavarri El Viejo Castillo Moro Lyra
Mchedelov At a Festivity (from In Georgia) Moscow Music 1968
Stadler Coming Home (from Coming Home) Doblinger 35 841
Glyn Telynor Tregaron (from Living Harp vol. 2, ed. Bennet) Curiad 7033
Mathias Any two movements from Improvisations op. 10 OUP
Metcalfe Le tombeau de Boulez (from Harp Scrapbook) Curiad 7027
Natra Any two movements from Sonatina Salvi
Shearing Lullaby of Birdland F. C. Publishing
Watkins Fire Dance (from Petite suite) UMP


144
Non-Pedal Harp — Grade 7 Subject code: NPH

J S Bach Presto (from Pièces classiques cahier 6, ed. Bouchaud) Billaudot GB5635
J S Bach Chaconne (from Pièces classiques cahier 6, ed. Bouchaud) Billaudot GB5635
Dussek Sonatina no. 3 in G, 2nd movt: Allegro non tanto
(from Six Sonatines for Harp) Bärenreiter Praha H 1748
Naderman Étude V (from Naderman pour harpe celtique) Zurfluh AZ1315
Shaljean Prelude in A minor (from 12 Preludes for Concert or Celtic Harp) Shaljean/Ossian
Shaljean Variations on a Welsh Traditional Air Blue Crescent Music
Stevenson Parthenia Old School
Group B
Bell An Buacaill Caol Dubh (from The Small Harp, ed. Hewett) Kinmor
Carolan Carolan’s Farewell to Music (from Carolan’s Receipt, arr. Bell) Lyra
De Braal Langsamme Trioleu no. 16 (from De Kleine Harp) Donemus
Dia Succari Sur l’étang Harposphere 11400
Doumany Any one of Water, Spirit, Air, Earth (from The Elements) Beartramka
Fleishman An Coitin Dearg (from The Irish Harp Book, ed. Cuthbert) Carysfort Press
Francois Ar Baradoz Editions Mi bémol
Macdearmid Sea Rapture Sounding Strings
Springthorpe Idyll (from Lever Harp 2000) Beartramka
Group C
Carolan
(Ed. Yeates) Planxty Johnston Cairde na Cruite
De Braal Allegretto no. 17 (from De kleine Harp) Donemus
Green A Little Lower than the Angels Green
Henson-Conant New Blues or Nataliana F. C. Publishing
Lemeland Élégie Ed Francaises EFM1971
Mcnulty Any two of Fantasia, Berceuse and Rondo
(from The Irish Harp Book ed. Cuthbert) Carysfort Press
Stevenson Blue Orchid Old School
Victory Any TWO of Three Pieces (from The Irish Harp Book ed. Cuthbert) Carysfort Press
Wright The Estuary or The Coastal Path (from Lever Harp World) Beartramka


145
J S Bach Allemande [arr. Grandjany] Durand
Boieldieu Any two movements from Sonata Lyra/Salvi
Dizi Grande Sonate pour harp, 1st movt Durand 14811
Francisque Pavane & Bransles [arr. Grandjany] Schirmer GS48864
Handel Any two movements from Concerto in Bb,
op. 4 no. 6 [unaccompanied] Bärenreiter BA364
Pitfield Sonatina for Harp [complete] Hinrichsen 593
Respighi Siciliana [arr. Grandjany] Ricordi 121132
Spohr Fantasie in C minor, op. 35 Salvi
Group B
Fauré Une Chatelaine en sa Tour Durand 957700
Glinka Variations on a Theme of Mozart Lyra/Salvi
Godefroid Étude de Concert in Eb minor Salvi
Granados Danza Espanola no. 5 UME 16129
Hasselmans Elegie Billaudot G 5086B
Thomas Study no. 2 in Gb (from Selected Studies for the Harp) Adlais 003
Tournier Sonatine no. 1, 1st movt Lemoine
Group C
Francois Hot Cucumber Editions Camac
Shaljean High Hat Blue Crescent Music
Britten Any two movements (except no. 3 or no. 5) from Suite Faber
Chertock Harpicide at Midnight (from Around the Clock Suite) Salvi
Flothuis Pour Le Tombeau d’Orphée Pilgrim
Gershwin An American in Paris and Rhapsodie in Blue [arr. Fell] Salvi
Glyn Erdiggan (from Living Harp vol. 1, ed. Bennet) Curiad 7013
Guridi Viejo Zortzico UME 19459
Hoddinott Presto alla Tarantella from Sonata op. 36 OUP
Samuel La Roca Blanca (from Living Harp vol. 1, ed. Bennet) Curiad 7013
Watkins Prelude from Petite Suite UMP



146
Non-Pedal Harp — Grade 8 Subject code: NPH

Moor Piece no. 1 (from Three Pieces for Lever Harp) Beartramka
Currington Millennium Hope (from Lever Harp 2000) Beartramka
Handel Any two movements from Concerto op. 4 no. 6 [unaccompanied] Salvi
Scarlatti Sonate en La mineur, K. 61
(from Pièces classiques cahier 6, ed. Bouchaud) Billaudot GB5635
Scarlatti Sonate en Sib, K. 66 (from Pièces classiques cahier 6, ed. Bouchaud) Billaudot GB5635
Shaljean Prelude in D (from 12 Preludes for Concert or Celtic Harp) Shaljean/Ossian
Shaljean Prelude in Eb (from 12 Preludes for Concert or Celtic Harp) Shaljean/Ossian
Shaljean Prelude in G minor (from 12 Preludes for Concert or Celtic Harp) Shaljean/Ossian
Snell Toccata (from Lever Harp 2000) Beartramka
Group B
Ayres Vari8 (from Lever Harp 2000) Beartramka
Bessell The Green Man (from Lever Harp 2000) Beartramka
Keller Vibrations Billaudot GB4797
MacDearmid Tir-nan-og Sounding Strings
Ortiz Theme from Suite to Luzma
(from Latin American Harps History, Music & Technique) Alfredo Rolando Ortiz
Springthorpe The Heart’s Journey (from Lever Harp 2000) Beartramka
Group C
Bouchaud Any two movements from Discorde Harposphere 11467
Clifton-Welker Dance (from Lever Harp 2000) Beartramka
Larhantec Fantasmagories Harposphere 11434
Lennon & Here, There & Everywhere
McCartney (from Lennon & McCartney for the Harp, arr. Sylvia Woods) Woods
Ortiz Una vez en la montaña
(from The International Rhythmic Collection vol. 2) Alfredo Rolando Ortiz
Shaljean High Hat Blue Crescent Music
Trad. Pajaro Campana (from Latin American Harps History,
Music & Technique) Alfredo Rolando Ortiz



147
Certificate Examinations
Structure
Certificate examinations consist of a performance of a certain number of pieces without technical work
or supporting tests, and are particularly popular with soloists and ensembles seeking experience and
validation of the performing experience. They also provide a clear progression towards Trinity Guildhall’s
Performance Diplomas, giving musicians the opportunity to explore and develop their skills and
experience at a time when their technical abilites are opening up to them a wealth of new repertoire.
The items are presented as a concert performance for which a written programme is presented to the
examiner at the start. Spoken introductions may also be given to each piece. The quality of the
programme choice and planning is assessed, as is the stagecraft and presentation.
Certificate Examinations for one instrument

Examinations for solo performers are available at 2 levels:
Level Length of programme Number of pieces
First Concert Certificate 12–18 minutes 4

(Grades 5–6)
Performer’s Certificate 23–35 minutes 4
(Grade 8–ATCL)
A balanced programme of four pieces is selected to demonstrate the technical, musical and
interpretative range of the player’s abilities. The items available to choose from represent a wide stylistic
and historical cross-section of the instrument’s repertoire. A time limit is set and should be closely
observed (to within 10%). Candidates should ensure that their overall timings include breaks between
pieces.
Candidates for all Certificate examinations must provide for the examiner a copy of each piece that they
are performing . These copies must be the same edition as the candidate’s version. In solo Certificate
examinations, photocopies (made at the candidate’s expense) can legitimately be used for this purpose,
unless the performance is being given entirely from memory in which case originals must be provided.
Photocopies given to the examiner will be retained and destroyed after the examination. For Ensemble
examinations, the copies that are provided for examiners must be originals and in full score.
Programme planning and notes

Examiners will award marks for the artistry and effectiveness of the programme’s design and the balance
of contrasts in styles and tempi within the programme. Written and (where applicable) spoken material
will be considered in relation to the quality of the writing of the programme notes, the accuracy, interest
and appropriateness of the points made and the degree of care taken with the presentation of the
material.
Candidates are required to provide examiners with copies of all music being performed, as well as neatly
printed or typed copy of their programme, including timings for each item and a short written
programme note on each item, 40–100 words for First Concert Certificate or 75–150 words for
Performer’s Certificate. Alternatively, candidates may introduce each item of the programme. If spoken,
each introduction should be given directly before the piece to which it relates. Notes may be used, but
candidates should not read from a fully written-out text.
148
Notes or introductions should focus mainly on the context and content of the chosen works and must in
all cases be the candidate’s own, unaided work. If written in a language other than English, a translation
— which need not the be the candidate’s own work — must be provided for the examiner.
All notes or introductions must in all cases be the candidate‘s own unaided work.
Stagecraft and presentation

In this section examiners will assess the way that the performer(s) behave while ‘on stage’, their
awareness of and interaction with other members of the performing group and the ensemble skills
they show. In addition their sense of occasion and their personal presentation will be appraised.
Both candidate and accompanist should dress smartly and appropriately, as for a public
performance, school concert etc. If appropriate, school uniform may be worn.
Certificate Examinations for Ensembles

In order to encourage the co-operative skills essential for the development of a well-rounded musician,
assessments are offered for ensembles at three levels: First Recital (FR), Intermediate Recital (IR) and
Advanced Recital (AR). Ensemble performances can be an enjoyable and effective way to open or close a
session of solo examinations taken by individual students of one or more teachers, or within a school
entry. Provided that ensembles have repertoire of the appropriate level of difficulty and, as long as the
examination centre can accommodate the performers adequately, there is no restriction on the nature
or size of ensembles.
Any ensemble of three or more players and/or singers may be entered, except in the case of Piano—Six
Hands, for which a syllabus already exists, and which should be entered under its own subject code. Duos
will also be accepted, except in cases where standard grade examinations already exist (such as most
single-line instruments with piano, or piano duet).
Each part may be played by one player, as in chamber music, or by multiple performers according to the
suitability of the music. For example, a guitar quartet might be performed by four, eight or even twelve
players. Players may change instruments between pieces if they wish, but no extra credit will be given
for performing on more than one instrument.
A programme of contrasted items should be chosen to match the capabilities of the players, as follows:
Level Length of programme Number of pieces

First Recital up to 10 minutes 4–6
Certificate
Intermediate Recital
Certificate 10–15 minutes 3–4
Advanced Recital
Certificate 20–25 minutes 3
Repertoire should be chosen in line with the guidelines set out in the ‘Levels of Achievement’ statements
in the Information & Regulations booklet.
A special Ensemble Entry Form, obtainable from local representatives or from head office, must be used
for each ensemble. Each must be given a name (e.g. ‘The Proctor Quartet’) which will be printed on the
report form and certificate. Detailed instructions are given on the form. Trinity Guildhall reserves the
right to charge a supplementary fee for ensembles if additional setting-up time is needed.
A teacher may not take part in an ensemble examination except as a conductor.
149
Duration — Certificate Examinations

Certificate Duration in minutes
First Concert Certificate 20
Performer’s Certificate 35
First Recital Certificate 15
Intermediate Recital Certificate 20
Advanced Recital Certificate 30
Marking — Certificate Examinations

The mark scheme of the examination is as follows:
Piece 1 22
Piece 2 22
Piece 3 22
Piece 4 22
Programme planning and notes 6
Stagecraft and presentation 6
The mark thresholds are as follows:
Distinction 87
Merit 75
Pass 60
Below Pass 1 45
Below Pass 2 33
The same criteria are applied to the performance of pieces as for Graded examinations, and are set out
in a separate leaflet Information and Regulations which is available direct from Trinity Guildhall’s Head
Office, Local Representatives or from the Trinity Guildhall website www.trinityguildhall.co.uk. This also
contains details of the criteria applied to the assessment of Programme Planning and Notes and
Stagecraft and Presentation.
For ensemble examinations, one written report will be issued for each ensemble, and each member will
receive a certificate.
150
Violin — First Concert Certificate Subject code: VLN
Four pieces to be performed, one chosen from Group A and three from Group B, to form a balanced
programme of between 15 and 18 minutes in length, including breaks between pieces (and introductions,
if spoken). One unaccompanied piece only may be chosen.
Group A
Dvořák No. 2 of Romantic Pieces Bärenreiter Praha H1903
Fiocco Allegro Schott ED 11963
Handel 3rd and 4th movements (Larghetto and Allegro)
from Sonata in D, HWV 371 Bärenreiter BA 4226
Handel attrib. 3rd and 4th movements (Largo and Allegro) from Sonata in F,
op. 1 no. 12 HWV 370 (from Real Repertoire for Violin) Faber 0 571 52155 X
McGibbon Andante and Variations from Sonata no. 2 in D Hardie
Mozart Allegro and Menuetto from Serenade no. 2 K 439b
(from Real Repertoire for Violin) Faber 0 571 52155 X
Pepusch 3rd and 4th movements (Adagio and Allegro) from Sonata V in D Schott VLB 96
Group B
Bartók An Evening in the Village (from Real Repertoire for Violin) Faber 0 571 52155 X
Brahms Hungarian Dance no. 5 (from Real Repertoire for Violin) Faber 0 571 52155 X
Coleridge-Taylor La Caprice de Nanette (from Violin Favourites vol. 2) Fentone/de Haske F668
D’Ambrosio Canzonetta (from The Romantic Violinist) Boosey M 060 10204 2
Farmer The Bluebells of Scotland (from The Violinist’s Contest Album) Fischer CFO2779
Janáček Romance Bärenreiter H5789
Kedlitz Lolita (from The Violinist’s Contest Album) Fischer CFO2779
Kraemer Sun over San Sofia (from Gypsy Jazz) Faber 0 571 51937 7
Kreisler Pavane from Chanson Louis XIII
(from The Best Pieces for Violin and Piano) Schott BSS 29019
Martinů Intermezzo no. 4 Bärenreiter H5259
Martinů No. 2 of Seven Arabesques Salabert
Mistowski Hornpipe Chester CH00314
Nolck Hungarian Dance op. 196 no. 5
(from The Romantic Violinist) Boosey M 060 10204 2
Ravel Pièce en forme de habenera Leduc AL 24864
Reinhardt Serenade Or Tav
Tchaikovsky Chanson Triste op. 40 no. 2 (from Real Repertoire for Violin) Faber 0 571 52155 X
Telemann Largo and Presto from Fantasia no. 7 [unaccompanied] Bärenreiter BA 2972
Vaughan Williams Pastorale from Romance and Pastorale Faber 0 571 51432 4
Vitali Barabano per la lettera E from partita sopra dives sonate Doblinger DM 1240
Wieniawski Chanson Polonaise op. 12 (from Real Repertoire for Violin) Faber 0 571 52155 X
Programme planning and notes (6 marks) (see page 148)
Stagecraft and presentation (6 marks) (see page 148)
151
Violin — Performer’s Certificate Subject code: VLN
Four pieces to be performed, one chosen from Group A and three from Group B, to form a balanced
programme of between 30 and 35 minutes in length, including breaks between pieces (and introductions,
if spoken). One unaccompanied piece only may be chosen.
Group A
J S Bach Sonata II in A, BWV 1015 (from Six Sonatas vol. 1) Bärenreiter BA 5118
J S Bach 1st and 2nd or 3rd and 4th movements from Sonata in G minor,
BWV 1001 (unaccompanied) Bärenreiter BA 5116
Beethoven Romance in F, op. 50 (from 2 Romances) Peters 3393c
Brahms 1st movement or 2nd & 3rd movements from Sonata in G, op. 78 Wiener Urtext UT50011
Bruch 2nd movement from Concerto in G minor, op. 26 Henle HN 708
Corelli Sonata op.5 no. 3 (ornamented version) (from Sonatas vol. 1) Wiener Urtext UT 50235
Franck 3rd movement from Sonata in A UMP
Haydn 1st movement (Allegro moderato) from Concerto in G Breitkopf EB 8606
Group B
Arnold Prelude, Aubade and Waltz (from 5 Pieces op. 84) Paterson PAT60017
Fiorello Adagio (no. 22 of 36 Violin Studies) Stainer 5654
Bartók Rumanian Dances (complete) Universal UE8474
Biber Sonata XVI from ‘Rosary’ sonatas (unaccompanied) Doblinger DM 1239
Bloch Nigun Fischer B1857
Brahms 3rd movement from Sonata in D minor, op. 108 Wiener Urtext UT50013
Britten Lullaby from Suite op. 6 Boosey M 060 01546 5
Chen Yi Fisherman’s Song Presser 114-40950
De Falla Ritual Fire Dance (from De Falla Music for the Violin) Chester CH61248
De Falla/Kreisler Danse Espagnole (from Encore! Tasmin Little) Chester CH61091
Drdla Just a maiden (no. 8 from 8 Hungarian Dances op. 30) Bosworth BOE005124
Drigo Valse Bluette (from Encore! Tasmin Little) Chester CH61091
Francescatti Polka op. 22 IMC 2715
Gon Habanera Serenade (from Australian Violin Music) Currency
Hindemith 1st movement from Sonata in Eb, op. 11 Schott ED1918
Khachaturian Chant-Poeme Sikorski M 003 01816 4
Krein Gipsy Carnival Bosworth BOE004527
Maxwell Davies Dances from The Two Fiddlers (complete) Boosey M 060 08231 3
Maxwell Davies Mrs Linklater’s Tune Chester CH61785
Prokofiev Nos. 2, 3 and 4 from Cinq melodies op. 35 bis Boosey M 060 02074 2
Read Thomas Incantation Schirmer HL50484661
Reger German Waltz Schott ED7352
Shostakovich Three Fantastic Dances op. 5 (complete) Boosey M 060 02461 0
Tchaikovsky Serenade Melancolique op. 26 Boosey
Wieniawski Souvenir de Posen op. 3 PWM 957
Programme planning and notes (6 marks) (see page 148)

Stagecraft and presentation (6 marks) (see page 148)
152
Music Publishers
Abbreviations used in this syllabus are given in brackets after the publisher’s full name.
Please notes that agents’ or distributors’ addresses are given for non-UK publishers. These publishers
may have different local agents in other parts of the world who may be able to supply music more
easily or quickly. Details of these may be obtained by contacting the publishers directly at the
addresses listed here.
Trinity cannot guarantee that music will always be in stock with local suppliers. Candidates and teachers
should always check with the publisher before it is assumed that any item has gone out of print.
Adlais Music Publishers (Adlais): P.O. Box 28, Abergevenny, Gwent NP7 5YJ, UK
tel. +44 (0)1291 690 517; www.adlaismusicpublishers.co.uk
Alaw Music Publishing (Alaw): 4 Tyfica Road, Pontypridd, South Wales CF37 2DA, UK;
tel. +44 (0)1443 402 178
Alfred Publishing (Alfred): www.alfred.com in UK: c/o Faber Music Ltd
Amadeus Vertrieb (Amadeus): Barbara Päuler, Hermannstrasse 7, 8400 Winterthur, Switzerland
tel. +41 052 233 28 66; www.amadeusmusic.ch; in UK: c/o Schott Music Ltd
Amsco Music Publishing (Amsco): c/o Music Sales Ltd.
Anglo Music Press (Anglo Music): c/o De Haske Music (UK) Ltd
Arcadia Music Publishing Co. Ltd (Arcadia): P.O. Box 1 Rickmansworth, Herts WD3 3AZ, UK
Archduke Music (Archduke Music): in UK: c/o Pilgrim Harps
Bärenreiter Ltd (Bärenreiter): c/o Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX, UK
tel. +44 (0)1279 828930; www.bärenreiter.com
Editio Bärenreiter Praha (Bärenreiter Praha): c/o Bärenreiter Ltd
Bartholomew Music Publications (BMP): 105 Bartholomew Road, Kentish Town, London NW5 2AR
tel. +44 (0)20 7267 0437; e mail: [email protected]
Bayley & Ferguson (Bayley): c/o Paxman Musical Instruments Ltd
Beartramka (Beartramka): www.beartramka.co.uk; tel. +44 (0)1787 247222; c/o Pilgrim Harps or
Clive Morley Harps
Belaieff (Belaieff): in UK: c/o Peters Edition Ltd
Belwin Mills (Belwin): c/o Alfred Publishing
Gerard Billaudot Editeur (Billaudot): 14 rue de l’Echiquier, 75010 Paris, France
tel. +33 (1) 47 70 14 46; in UK: c/o United Music Publishers Ltd
A & C Black (A & C Black): 37 Soho Square, London W1D 3QZ
tel. +44 (0)20 7758 0200; www.acblack.com
Blue Crescent Music (Blue Crescent): 3 Adelaide Place, St Luke’s Cross, Cork, Ireland;
tel. +353 (0)249 8209
Berandol Music Ltd (Berandol): PO Box 45059, 81 Lakeshore Rd E, Mississauga, ON, L5G 2X4
Canada; tel. 905 278 6338; c/o Leslie Music Supply Inc., 198 Speers Rd, Unit 2, Oakville, ON
L6K 2E9 Canada; tel. +1 800 291 1075; [email protected]
Boosey & Hawkes Music Publishers Ltd (Boosey): in UK: c/o Schott Music Ltd
Mail Order: Boosey & Hawkes, c/o Music Exchange, Claverton Road, Manchester M23 9ZA, UK
tel. +44 (0)20 7291 7255 or (Freephone in UK only) 0800 731 4778; www.boosey.com
Trade: Boosey & Hawkes, c/o Schott Music Ltd, MDS Music Distribution Service
5/6 Raywood Office Complex, Leacon Lane, Charing, Ashford, Kent TN27 0EN, UK
tel. +44 (0)1233 712 233
153
Music publishers continued
Boston Music Company (Boston): c/o Music Sales Ltd

Bosworth & Co Ltd (Bosworth): c/o Music Sales Ltd
Braydeston Press (Braydeston): c/o Music Sales Ltd
Breitkopf & Härtel (Breitkopf): Walkmühlstraße 52, Wiesbaden D-65195, Germany
tel. +49 611 45008 58; www.breitkopf.com; in UK: c/o Broome Cottage, The Street, Suffield, Norwich
NR11 7EQ, UK; tel. +44 (0)1263 768 732
Broadbent & Dunn Ltd (Broadbent & Dunn): 66 Nursery Lane, Whitfield Dover Kent CT16 3EX, UK
tel: +44 (0)1304 825 604 (sales); www.broadbent-dunn.com
Broekmans & Van Poppel (Broekmans): Van Baerlstraat 92-94, 1071 BB Amsterdam, Netherlands
tel. +44 (20) 6796575; www.broekmans.com
Cairde Na Cruite (Cairde Na Cruite): 50 Wyvern, Killiney, Co Dublin, Ireland
tel. +353 (0) 1 285 6345; http://cruit.harp.net
Camden Music (Camden): 85 Waldegrave Park, Twickenham, TW1 4TJ, UK
tel: +44 (0)20 8744 9005; www.camdenmusic.com; in UK: c/o Spartan Press Music Publishers Ltd;
in USA: c/o Theodore Presser Company; rest of Europe: XYZ International BV
Editions Camac (Carnac): Camac Harps, La Richerais, 44850 Mouzeil, France
tel. +33 240 97 24 97; www.camac-harps.com
Carysfort Press (Carysfort Press): 58 Woodfield, Scholarstown Road, Rathfarnham, Dublin 16,
Ireland; tel: +353 1 493 7383; www.carysfortpress.com
Cascade Music Publishing (Cascade): 30 College Green, Bristol BS1 5TB, UK
tel. +44 (0)1454 323 608
Chappell (Chappell): c/o Faber Music Ltd
Chester Music Ltd (Chester): c/o Music Sales
Clarsach Society (Clarsach): 22 Durham Road South, Edinburgh EH15 3PD, UK
tel. +44 (0)131 669 8972; www.clarsachsociety.co.uk
Fiona Clifton-Welker (Clifton-Welker): c/o Pilgrim Harps
Edition Combre (Combre): in UK: c/o United Music Publishers Ltd
Comus (Comus): Leach Cottage, Heirs House Lane, Colne, Lancs BB8 9TA, UK
tel. +44 (0)1282 864 985; www.comusedition.com
Corda Music Publications (Corda): 183 Beech Road, St Albans, Herts AL3 5AN, UK
tel. +44 0 1727 852 752; www.cordamus.demon.co.uk
CMA Publications (CMA): Strawberry Holt, Westfield Lane, Draycott, Somerset BS27 3TN, UK
tel: +44 (0)1934 740 270; www.cma-publications.co.uk
Cramer Music Ltd (Cramer): 23 Garrick Street, London WC2E 9RY, UK
tel. +44 (0)20 7240 1612; www.cramermusic.co.uk
Curiad (Curiad): The Old Library, County Road, Pen-y-Groes, Caernarfon, Gwynedd LL54 6EY, UK
tel. +44 (0)1286 882 166; www.curiad.co.uk
Curnow Music Press (Curnow): P.O. Box 142, Wilmore, KY 40390, USA
tel. +1 800 7287 669; www.curnowmusicpress.com
De Haske Music (UK) Ltd (De Haske): Fleming Road, Earlstrees, Corby, Northants. NN17 2SN, UK
tel. +44 (0)1536 260981; www.dehaske.com
Oliver Ditson Co. (Ditson): in UK: c/o United Music Publishers Ltd
in USA: c/o Theodore Presser Company
Doblinger Musikverlag (Doblinger): Dorotheerg. 10, A-1010 Vienna, Austria
tel. +43 1 515 030; www.doblinger-musikverlag.at; in UK: c/o Universal Edition (London) Ltd
154
Stichting Donemus (Donemus): Funenpark 1, 1018 AK Amsterdam, The Netherlands

tel. +31 (0) 20 305 8900; www.donemus.nl; in UK: c/o Spartan Press Music Publishers Ltd
Durand et Cie (Paris) (Durand): 5 rue du Helder, 75009 Paris, France
tel. +33 (0)1 53 24 80 01; www.durand-salabert-eschig.com
for the rest of the world: c/o United Music Publishers Ltd
Editio Musica Budapest Ltd (EMB): P.O. Box 332, H-1370 Budapest, Hungary
tel. +36 1483 3100; www.emb.hu; in UK: c/o Faber Music Ltd
Editions Française de Musique (EFM): c/o Gerard Billaudot Editeur
in UK:c/o United Music Publishers Ltd
Elkan-Vogel (Elkan-Vogel): P.O. Box 7720, New York, NY 101500-1914, USA
in UK: c/o United Music Publishers Ltd
William Elkin Music Services (Elkin): Wood Green Industrial Estate, Station Road, Salhouse,
Norwich, NR13 6NY, UK; tel. +44 (0)1603 721302; www.elkinmusic.co.uk
Eres Edition Musikverlag (Eres): Hauptstrasse 35, D-28859 Lilienthal, Germany
tel. +49 042 981 676; www.eres-musik.de
Ernst Eulenburg & Co. (Eulenburg): c/o Schott Music Ltd.
Editions Max Eschig (Eschig): Editions Durand-Salabert-Eschig, 5, rue du Helder, F-75009 Paris,
France; in UK: c/o United Music Publishers Ltd; in USA, Canada, Mexico: c/o Hal Leonard;
other territories: BMG Ricordi
European Music Archive (EMA): c/o Spartan Press Music Publishers Ltd
Faber Music Ltd (Faber): Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX, UK
tel. +44 (0)1279 828 982; www.fabermusic.com
F. C. Publishing Co. (F. C. Publishing): 21 Academy Street, S Berwick, ME 10012, USA
email: [email protected]
Fentone Music Ltd (Fentone): c/o De Haske Music (UK) Ltd
Carl Fischer LLC (Fischer): 65 Bleecker Street, New York, NY 10012, USA
tel. +1 212 777 0900; in UK: c/o Schott Music Ltd
Forsyth Brothers Ltd (Forsyth): 126-8 Deansgate, Manchester M3 2GR, UK
tel. +44 (0)161 834 3281; www.forsyths.co.uk
Carl Gehrmans Musikförlag (Gehrmans): Box 42026, SE - 126 12 Stockholm, Sweden
tel. +46 8 610 06 00; www.gehrmans.se
GIA Publications Inc. (GIA): 7404 South Mason Avenue, Chicago, IL 60638, USA
tel. +1 708 496 3800; www.giamusic.com
Goodmusic (Goodmusic): P.O. Box 100, Tewkesbury, Gloucestershire GL20 7YQ, UK
tel. +44 (0)1648 773 883; www.goodmusicpublishing.co.uk
Stewart Green (Green): c/o Pilgrim Harps
Griffiths Edition (Griffiths): 21 Cefn Coed, Bridgend, Mid Glamorgan CF31 4PH, UK
tel. +44 (0)1656 766 559
Guildhall (Guildhall): c/o Faber Music Ltd
Nancy Gustavson (Gustavson): c/o Pilgrim Harps
HarpLore Australia (HarpLore): PO Box 4724, Higgins ACT 2615, Australia
tel. +61 2 6258 8215; www.harplore.com.au
Harposphere (Harposphere): Le magasin de la harpe, 14 avenue Carnot, 75017 Paris, France
tel. +33 (0)1 43 80 01 56; www.harpebudin.com
Hansen (Hansen): c/o Music Sales Ltd
G. Henle Verlag (Henle): Forstenrieder Allee 122, D-81476 München, Germany
155
tel. +49 89 759 820; www.henle.de; in UK: c/o Schott Music Ltd
Edition Heugel (Heugel): c/o Editions Alphonse Leduc; in UK: c/o United Music Publishers Ltd
Highbridge Music Ltd (Highbridge): Studio 6, 18 Kensington Court Place, London, W8 5BJ
tel. +44 020 7938 1969
Hinrichsen Edition (Hinrichsen): c/o Faber Music Ltd
Friedrich Hofmeister Musikverlag (Hofmeister): Büttnerstraße 10, D-04103 Leipzig, Germany
tel. +49 341 9 60 07 50; www.friedrich-hofmeister.de; in UK: c/o Music Sales Ltd
Editions Musicales Hortensia (Hortensia): in UK: c/o United Music Publishers Ltd
Ink to Music (Ink to Music): c/o Pilgrim Harps
International Music Company (IMC): 5 West 37 Street New York, NY 10018, USA
tel. +1 212 391 4200; www.internationalmusicco.com
International Music Publications (IMP): c/o Faber Music Ltd
Gordon Johnston (Gordon Johnston): 27 Whitburn Crescent, Ottawa, Ontario K2H 5KS, Canada
tel. +1 613 829 8362; [email protected]
Edwin F. Kalmus & Co. Inc. (Kalmus): P.O. Box 5011, Boca Raton, FL 33431, USA
tel. +1 800 434 6340; in UK: c/o Music Sales Ltd
Robert King Music Sales Inc (Robert King): 140 Main Street, North Easton, Massachusetts 02356,
USA; fax. +1 508 238 2571; www.rkingmusic.com; in UK: c/o United Music Publishers Ltd
Kinmor Music (Kinmor): c/o Temple Records, Shillinghill, Temple, Midlothian EH23 4SH, UK
tel. +44 (0)1875 830 328; www.templerecords.co.uk
Kjos Music Publishers (Kjos): P.O. Box 178270, San Diego CA, USA; www.kjos.com
c/o Music Sales Ltd
Albert J. Kunzelmann GmbH (Kunzelmann): Hauptstrasse 35, D-79807 Lottstetten, Germany
tel. +49 (0)7745 8020; www.edition-kunzelmann.de; in UK: c/o Peters Edition Ltd
Editions Pierre Lafitan (Lafitan): 17, boulevard du Lac, 95880 Enghien-les-Bains, France
tel. +33 (0)1 34 17 20 25; www.lafitan.com
Latham Music Enterprises (Latham): 1530 Martin Street Suite 205, Winston-Salem NC 27103, USA
tel. +1 336 724 1919; www.latham-music.com
Editions Alphonse Leduc (Leduc): 175, rue Saint-Honoré, 75040 Paris cedex 01, France
tel. +33 (0)1 42 96 89 11; in UK: c/o United Music Publishers Ltd; in USA: c/o Robert King Music Sales
Inc.
Editions Henry Lemoine (Lemoine): 41 rue Bayen, 75017 Paris, France; www.editions-lemoine.fr
in UK: c/o United Music Publishers Ltd; in USA: c/o Theodore Presser Company
Alfred Lengnick & Co. (Lengnick): c/o Faber Music Ltd
Lido Mélodies (Lido): c/o Lido Mélodies/Justement, 58 rue de la Victoire, 75009 Paris, France
tel. +33 1 3036 1368; fax: +33 1 3448 0138; www.lidomelodiesjustement.visualnet.com
Lyon & Healy (Lyon & Healy): 1037 East South Temple, Salt Lake City, UT 84102-2687, USA
tel. +1 801 355 2686; www.lyonhealy.com; in UK: c/o Hoywell Music Ltd
Lyra Music Publications (Lyra): International Music Service, 2061 Palm Bay Road NE, Suite #7B,
Palm Bay, FL 32905, USA; tel. +1 (321) 725 4449; www.lyramusic.com; in UK: c/o Prilgrim Harps
McGinnis & Marks Music Publishers (McGinnis & Marks): 236 West 26th Street, #11S
New York, NY 10001-6736, USA; +1 212 243 5233
McTier Music (McTier): 106 Hounslow Rd, Twickenham, Middlesex TW2 7HB, UK
tel. +44 (0)20 8894 5381; email: [email protected]
Maecenas (Maecenas): 5 Bushey Close, Old Barn Lane, Kenley, Surrey, CR8 5AU, UK
tel. +44 (0)20 8660 3914
156
Maruka (Maruka): c/o Pilgrim Harps

Jeffery Mayhew (J Mayhew): 2 East Gun Copse, Christ’s Hospital, Horsham, W Sussex, RH13 0JD, UK
tel. +44 (0)1403 272904
Editions Mi Bémol (Editions Mi Bémol): c/o Editions Camac/Camac Harps
Modus Music (Modus Music): 21 Canonbury Road, Enfield, Middlesex EN1 3LW, UK
tel. +44 (0)20 8363 2663; www.modusmusic.org
Moscow Music (Moscow Music): in UK: c/o Pilgrim Harps
Musica Rara (Musica Rara): c/o Breitkopf & Härtel
Music Trading (MusT): 33 Quernmore Road, London N4 4QT, UK
tel. +44 (0)20 8341 4088; www.music-trading.co.uk/www.tutti.co.uk
Musicland (Musicland): c/o Peters Edition Ltd
Music Sales Ltd (Music Sales): Distribution Centre, Newmarket Road, Bury St. Edmunds, Suffolk
IP33 3YB, UK; tel. +44 (0)1284 702 600; www.musicroom.com
Novello & Co. Ltd (Novello): c/o Music Sales Ltd
Old School (Old School): The Old School, Stobo, Peebles, EH45 8NU UK
tel. +44(0) 1721 760 311; www.savournastevenson.com
Or-Tav Music Publications (Or-Tav): P.O.B. 1126, Kfar Sava 44110, Israel;
tel. +972 (0)9 767 9869; in UK: c/o Music Trading
Alfredo Rolando Ortiz (Ortiz): P. O. Box 911, Corona, CA 92878-0911, USA
tel. +1 951 737 9897; www.alfredo-rolando-ortiz.com
Oxford University Press (OUP): Music Department, Great Clarendon Street, Oxford OX2 6DP, UK
tel. +44 (0)1536 454 590; www.oup.co.uk
in Australia: c/o Alfred Australia, P.O. Box 2355, Taren Point, NSW 2229
tel. +61 2 9524 0033; [email protected]
in USA: Oxford University Press Inc, 198 Maddison Avenue, New York, NY 10016
Paterson’s Publications (Paterson’s): c/o Music Sales Ltd
Paxton (Paxton): c/o Music Sales Ltd
Peters Edition Ltd (Peters): 10-12 Baches Street, London N1 6DN, UK
tel. +44 (0)20 7553 4000; www.edition-peters.com; in UK: c/o Faber Music Ltd
Piper Publications (Piper): Dochroyle Farm, Barrhill, Girvan, Ayrshire KA26 0QG, UK
tel. +44 (0)1465 821 377; www.piperpublications.co.uk
Pro Musica Verlag (Pro Musica): Karl-Liebknecht-Strasse 12, D-4107 Leipzig, Germany
PWM Edition (PWM): al. Krasinskiego 11a, 31-111 Krakow, Poland
tel. +48 (012) 422-70 44; www.pwm.com.pl; in UK: c/o Universal Edition (London) Ltd
Pamela Radford (Pamela Radford): c/o Clarsach Society
Recital Music (Rectial): Vale Cottage, The Hamlet, Slades Hill, Templecombe, Somerset
BA8 0HJ, UK; tel. +44 (0)1963 370 051; www.recitalmusic.info; email: [email protected]
BMG Ricordi (Ricordi): Via Liguria 4, Frazione Sesto Ulteriano, 20098 San Giuliano Milanese MI,
Italy; tel. +39 2 98813 4279/4314; www.ricordi.com; in UK: c/o United Music Publishers Ltd
Editions Rideau Rouge (Rideau Rouge): 38 rue Servan, 75011 Paris, France
c/o www.musiqueenligne.com; [email protected]
Editions Salabert (Salabert): Editions Durand-Salabert-Eschig, 5, rue du Helder, F-75009 Paris,
France; in UK: c/o United Music Publishers Ltd; in USA, Canada, Mexico: c/o Hal Leonard;
other territories: BMG Ricordi
Salvi Publications (Salvi): in UK: c/o Holywell Music Ltd; in USA: c/o Lyon & Healy
157
Sangeeta Publications (Sangeeta): 15 Queens Road, London W5 2SA, UK

tel./fax. +44 (0)20 8997 6387
G. Schirmer Inc. (Schirmer): c/o Music Sales Ltd
Schott Music Ltd (Schott): 48 Great Marlborough Street, London W1F 7BB, UK
tel. +44 (0)20 7437 1246/7534 0710: www.schott-music.com
Shaljean/Ossian (Shaljean/Ossian): c/o Pilgrim Harps
Hans Sikorski (Sikorski): Johnsallee 23, D-20148 Hamburg, Germany
tel. +49 (0)40 41 41 000; www.sikorski.de; in UK: c/o Schott Music Ltd
S J Music (S J Music): 23 Leys Road, Cambridge CB4 2AP, UK
tel. +44 (0)1223 314771; www.sheet-music.com/sjmusic
Sounding Strings (Sounding Strings): PO Box 12508, Banchory, AB31 6WB UK
tel. +44 (0)1330 850 722; via www.harp.net
Southern Music Company (Southern): P.O. Box 329, 1248 Austin Highway, Suite 212 San Antonio,
Texas 78292, USA; tel. +1 210 226 8167; in UK: c/o Valentine Music, 26 Lichfield Street. London WC2H
9TZ, UK, tel: +44 (0)20 7240 1628; www.valentinemusic.co.uk
Spartan Press Music Publishers Ltd (Spartan): Strathmashie House, Laggan Bridge,
Scottish Highlands, PH20 1BU, UK; tel. +44 (0)1528 544 770; www.spartanpress.co.uk
Stainer & Bell Ltd (Stainer): P.O. Boxes 110, Victoria House, 23 Gruneisen Road, London N3 1DZ, UK
tel. +44 (0)20 8343 3303; www.stainer.co.uk
Summy Birchard Inc. (Summy Birchard): 15800 N.W. 48th Avenue, Miami, FL 33014, USA
tel. +1 305 620 1500; fax. +1 305 621-1094
Suzuki Method International (Suzuki): www.suzukimusicacademy.com
in USA: c/o Summy Birchard Inc.
Taigh na Teud Music Publishers (Taigh na Teud): 13 Upper Breakish, Isle of Skye, Scotland
IV42 8PY, UK; tel. +44 (0)1471 822 528; www.scotlandsmusic.com
Thames Publishing (Thames): c/o Music Sales Ltd
Theodore Presser Company (Presser): 588 North Gulph Road, King of Prussia, PA 19406, USA
tel. +1 610 525 3636; www.presser.com; in UK: c/o United Music Publishers Ltd
Editions Musicales Transatlantiques (Ed Mus Trans): 2 passage de Crimée, 75019 Paris, France
tel. +33 01 42 09 97 70; www.editransat.com; in UK: c/o United Music Publishers Ltd
Trinity Faber (Trinity Faber): c/o Faber Music Ltd
Union Musical Ediciones (UME): in UK: c/o Music Sales
Universal Edition (London) Ltd (Universal): 48 Great Marlborough Street, London W1F 7BB, UK
tel. +44 (0)20 7437 1246/(0)20 7534 0710: www.universaledition.com
Vanderbilt Music Company Inc. (Vanderbilt): P.O. Box 456, Bloomington, IN 47402, USA
tel. +1 812 333 5255; www.vanderbiltmusic.com
Viola World Publications (Viola World): 2 Inlander Road, Saratoga Springs, NY 12866, USA
tel. +1 518 583 7177; in UK: c/o Music Sales Ltd
Warner Bros. Publications (Warner Bros): c/o Faber Music Ltd
Warwick Music (Warwick): 1 Broomfield Road, Coventry, CV5 6JW, UK
tel. +44 (0)24 7671 2081; www.warwickmusic.com
Weller & Cooper (Weller & Cooper): in UK: c/o Fuller Music
Winwood Music (Winwood): Unit 7, Fieldside Farm, Quainton, Bucks HP22 4DQ, UK
tel. +44 (0)1296 655777; www.winwoodmusic.co.uk
Wise (Wise): c/o Music Sales Ltd
Sylvia Woods Harp Center (Woods): Woods Music & Books, Inc, 915 N. Glendale Ave, Glendale,
CA 91206, USA; tel. +1 (818) 956-1363; www.harpcenter.com
158
Wright & Round Ltd (Wright & Round): The Cornet Office, P.O. Box 157, Gloucester GL1 1LW, UK
tel: +44 (0)1452 523 438
Yorke Edition (Yorke): 31 Thornhill Square, London N1 1BQ, UK
tel. +44 (0)20 7607 0849
Zen-On Music (Zen-On): 2-13-3 Kamiochiai, Shinjuku-ku, Tokyo 161-0034, Japan
in UK: c/o Schott Music Ltd; in USA: c/o Summy Birchard Inc.
Musikverlag Zimmermann (Zimmermann): c/o MusT
Editions Auguste Zurfluh (Ed Aug Zurfluh): in UK: c/o United Music Publishers Ltd
UK Specialist Suppliers
In case of any difficulty in obtaining music, the following specialist suppliers may be helpful.
All bowed string Instruments

Fuller Music
25 Abbotts View, Buckshaft, Cinderford, Gloucestershire GL14 3EG
tel. +44 (0)1594 827 555; www.fullermusic.co.uk
Serenade for Strings
South Teavarran, Foxhole, Kiltarlity, Inverness, IV4 7HT
tel. +44 (0) 1463 741 651
Harp
Pilgrim Harps
Stansted House, Tilburstow Hill Road, South Godstone, Surrey RH9 8NA, UK
tel. +44 (0)1342 893 242; www.pilgrimharps.co.uk
Salvi Publications
Holywell Music, 58 Hopton Street, London SE1 9JH, UK
tel. +44 (0)20 7928 8451; www.holywell.co.uk
Clive Morley Harps
Goodfellows, Filkins, Nr. Lechlade, Gloucestershire GL7 3JG, UK
tel. +44 (0)1367 860 493; www.morleyharps.com
159
Trinity Guildhall Publications
Violin Books Violin Examination Pieces 2004–2009 (Initial–Grade 8): These 9 books
contain a selection of the repertoire set for Trinity Guildhall violin
examinations from 2007.
Violin CDs Four CDs are available: Initial to Grade 3, Grades 4 & 5, Grades 6 & 7 and
Grade 8, containing all the music in the books of Violin Examination
Pieces performed by Roderick Skeaping and Peter Wild.
Aural Tests Trinity Guildhall Aural Tests from 2007: In two volumes, Initial to Grade 5
and Grade 6 to Grade 8, each with CD, containing sample tests for the
Aural section of the exam. With explanations, sample answers and advice
on completing the tests.
Scales & Arpeggios Trinity Guildhall String Scales, Arpeggios & Studies (Initial–Grade 8):
Containing all technical work set for Trinity Guildhall examinations:
Violin Scales, Arpeggios & Studies from 2007
Viola Scales, Arpeggios & Studies from 2007
Cello Scales, Arpeggios & Studies from 2007
Double Bass Scales, Arpeggios & Studies from 2007
Sight Reading The Sound at Sight series gives full instructions and practice materials for
preparation for the sight reading tests.
Sound at Sight for Violin, book 1 (Initial–Grade 3) and book 2 (Grades 4–8)
Sound at Sight for Cello (Grades 1–8)
Repertoire Books Violin Allsorts (Initial–Grade 1) and Violin Allsorts (Grades 2–3) are joint
Trinity Faber publications containing a mixture of repertoire from all
musical eras. Real Repertoire for Violin is also available and contains
music for the developing player (Grades 4–6).
All Trinity Guildhall publications are available from your local music shop, but can also be
obtained directly from our distributors:
FM Distribution Ltd, Burnt Mill, Elizabeth Way, Harlow CM20 2HX, UK
T +44 (0)1279 82 89 82 F +44 (0)1279 82 89 83
E [email protected] www.fabermusic.com
If you are ordering directly from FM Distribution Ltd, please order carefully as no returns can be
accepted. A postage charge will be added to your order.
For a publications list or if you have any queries about music published by Trinity Guildhall, please
contact:
Trinity Guildhall Examinations, 89 Albert Embankment, London SE1 7TP, UK
T +44 (0)20 7820 6100 F +44 (0)20 7820 6161
E [email protected] www.trinityguildhall.co.uk
160

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Strings Syllabus

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Trinity Guildhall Examinations

T + 44 (0)20 7820 6100

Patron HRH The Duke of Kent KG

Copyright © Trinity College London 2006

Musical Knowledge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Sight Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Violin (subject code VLN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Viola (subject code VLA) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Cello (subject code VCL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

Double Bass (subject code DB) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

Harp/Non-pedal Harp/Pedal Harp (subject codes HRP/NPH/PHP) . . . . .128

Ensemble Certificate examinations

Obtaining music — publishers’ contact details . . . . . . . . . . . . . . . . .153

Trinity Guildhall publications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160

Benjamin Norbury — Syllabus Manager

The structure of Graded Examinations from 2007 will be as follows:

• Notational Accuracy & Fluency (7 marks):

• Technical Facility (7 marks):

Bowed Strings Technical Work

Tempi for scales and arpeggios

Playing from memory

Forms of the minor scale

Bowing patterns for scales and arpeggios

Harp Technical Work

Metronome indications are an absolute minimum. However, exercises should be performed at a

Examples of scale and arpeggio bowing patterns

One octave scale, slurred in pairs

or (For Grade 1 only (Grade 2 for double bass)):

Two octave scale, slurred in pairs

Scale slurred four notes to a bow

Scale slurred seven notes to a bow

Scale slurred three notes to a bow

Arpeggio slurred in pairs

Arpeggio of a 7th slurred in pairs

Arpeggio slurred three notes to a bow (1 octave, 2 octaves)

Arpeggio to a 12th slurred three notes to a bow

Accompanists and page-turners

Playing from memory

Music and copies

The specific requirements are listed below.

Composition requirements—grade by grade:

Grade Duration Requirements

Initial 1–2 minutes A piece containing sudden change(s)

Outline and Test Parameters

The parameters are given in the chart overleaf.

Written Keys for Chordal Tests

Grades 1, 2 & 3 Grades 4 & 5 Grades 6, 7 & 8

B, F#, C#, E & A minor D, A, E, G, C, F, & Bb major

E, B, F#, A & D minor G, D, A, C, F, E & Bb major

A, E, B, F# & D minor C, G, D, A & F, Bb & Eb

A, E, B, D & F# minor C, G, D, F, A, E & Bb major

A, D, E, G & B minor C, F, G, Bb, D, Eb & A major

Parameters for Improvisation Tests

8–12 bar phrase

12–16 bar phrase

Musical Knowledge (Initial to Grade 5 only)

2. Clefs, time/key signatures and any common musical term/sign encountered.

4. Be aware of appropriate basic posture when playing.

Eb major A major Eb major E major Bb*, A major